("LIBRARY 

UNIVERSITY  OF 

CALIFORNIA 

SAN  DIEGO 


P.  TERENTI    AFRI 

ANDRIA 


WITH   INTRODUCTION   AND  NOTES   BY 

EDGAR   H.  STURTEVANT,   PH.D. 

ASSISTANT   PROFESSOR   OF  CLASSICAL   PHILOLOGY 
COLUMBIA  UNIVERSITY 


AMERICAN  BOOK  COMPANY 

NEW  YORK  CINCINNATI  CHICAGO 


COPYRIGHT,  1914,  nv 
EDGAR  H.   STURTEVANT. 

COPYRIGHT,  1914,  IN  GREAT  BRITAIN. 
TERENCE.    ANDRIA. 

W.  P.  I 


SANCTAE    MEMORIAE 

HAROLD   WHETSTONE  JOHNSTON 

QUO    MAGISTRO 

MUSAM    TERENTIANAM 

AMARE    COEPI 


PREFACE 

THIS  edition  of  the  Andria  is  intended  for  students  who 
are  making  their  first  acquaintance  with  ancient  drama.  In 
the  conviction  that  beginners  cannot,  as  a  rule,  get  from  a 
series  of  formal  treatises  the  background  needed  for  an  in- 
telligent reading  of  Terence,  the  editor  has  substituted  brief 
outlines  of  several  Greek  and  Latin  plays  which  illustrate 
important  stages  in  the  development  of  comedy.  A  little 
information  has  been  interspersed  between  these  extracts, 
but  it  is  hoped  that  there  is  no  more  of  it  than  can  be  read 
with  interest  and  remembered  with  some  accuracy.  Most 
information  that  is  really  pertinent  can  be  given  more 
effectively  in  the  notes. 

Suetonius'  Life  of  Terence,  with  a  rather  full  commentary, 
has  been  substituted  for  the  usual  biographical  remarks  in 
English.  The  editor  has  found  this  more  interesting  and 
valuable  to  read  with  a  class  than  a  single  prologue  apart 
from  the  needed  context  that  is  to  be  found  in  the  other  six. 
The  text  of  the  biography  is  in  the  main  that  of  Wessner's 
edition  of  Donatus. 

The  usual  analysis  of  the  plot  of  the  Andria  has  been 
omitted  so  as  not  to  lessen  the  students'  interest  in  the  play 
itself. 

It  seemed  impossible  to  relegate  the  treatment  of  meter 
and  prosody  to  the  notes,  and  so  there  is  a  brief  essay  on 
these  subjects.  The  material  is  not  arranged  systematically, 
but  is  given  in  the  order  in  which  the  student  is  likely  to 
need  it. 

5 


6  PREFACE 

In  determining  the  text  the  editor  has  followed  Spengel, 
Pease,  and  Fairclough  in  rating  the  manuscripts  of  the  y 
group  above  those  of  the  8  group. 

The  editor  has  advanced  several  conjectures  and  interpre- 
tations of  his  own,  and  has  accepted  a  number  of  theories 
that  have  not  yet  won  general  approval.  It  would  be  foolish 
to  put  any  of  these  before  the  public  apart  from  the  reasons 
on  which  they  are  based.  Consequently  the  text  and  stage 
directions  are  defended  at  several  points  in  an  Appendix, 
and  some  items  in  the  commentary  are  discussed  in  foot- 
notes. Both  Appendix  and  footnotes,  then,  are  frankly 
intended,  not  for  students,  but  for  teachers.  Therefore,  in 
justice  to  those  who  will  purchase  the  book,  both  have  been 
made  as  brief  as  possible.  If  a  reading  or  an  interpretation 
is  adequately  defended  in  one  of  the  standard  editions, 
the  argument  is  not  repeated  here.  In  searching  for  justifi- 
cation of  the  text,  readers  are  advised  to  turn  first  to  Fair- 
clough's  edition ;  for  our  text  resembles  his  somewhat  more 
closely  than  it  does  any  other  that  has  appeared. 

It  is  hoped  that  teachers  will  approve  the  use  of  the  charac- 
ters U  and  v  in  the  manner  usual  in  editions  of  later  writers. 
Meaningless  variation  between  editions  in  such  matters 
is  very  misleading  to  students ;  as  witness  the  young  woman 
who  had  noticed  no  feature  of  Tacitus'  style  except  his 
avoidance  of  capital  letters. 

In  the  commentary  the  editor  has  tried  not  to  tell  so  much 
that  nothing  would  be  left  for  the  teacher  to  say.  For 
example,  many  familiar  comments  on  the  construction  of  the 
plot  have  been  intentionally  omitted  in  the  belief  that  the 
student  does  not  need  them  while  preparing  his  lesson,  and 
that  no  competent  teacher  is  likely  to  overlook  them.  Some 
may  miss  a  reference  to  the  matter  of  "redende  Namen"; 
but  the  editor  doubts  whether  there  really  are  any  such  in 
Terence. 


PREFACE  7 

As  already  implied,  the  editor  is  under  great  obligation  to 
Fairclough's  excellent  edition  of  the  Andria.  He  has  also 
taken  not  a  little  from  Ashmore  and  from  the  standard 
German  editions.  Thanks  are  also  due  to  the  publishers  of 
Capps'  From  Homer  to  Theocritus  (Scribners,  New  York) 
and  of  Murray's  translation  of  the  Iphigenia  in  the  Land 
of  the  Taurians  (George  Allen,  London),  as  well  as  to  the 
authors  themselves,  for  permission  to  reprint  extracts  from 
those  books.  Professor  Capps  had  the  kindness  to  read 
most  of  the  Introduction  in  manuscript,  and  he  made 
several  valuable  suggestions.  Professor  Knapp  subjected 
the  entire  manuscript  to  a  searching  criticism,  which  led  in 
some  cases  to  a  change  of  opinion  and  in  very  many  others  to 
a  clearer  statement  of  the  view  previously  adopted.  There 
is  scarcely  a  page  of  the  commentary  that  has  not  been 
improved  in  one  way  or  the  other.  He  has  also  read  most  of 
the  proof. 

EDGAR    H.    STURTEVANT. 


CONTENTS 

INTRODUCTION  :  PAOE 

The  Origin  of  Comedy 9 

Old  Attic  Comedy 10 

Euripides      .         .         .         .         .         .         .         .         .         .17 

New  Attic  Comedy 23 

Roman  Comedy 30 

Plautus .32 

Terence 38 

Vita  Terenli  of  Suetonius       ......       40 

The  Andria  .         .         .         .         .         .         .         .         .50 

Meter  and  Prosody 51 

Table  of  the  Meters  of  the  Andria r8 

TABLE  OF  ABBREVIATIONS .60 

TEXT  OF  THE  ANDRIA 63 

APPENDIX 175 

INDEX .     183 


INTRODUCTION 

THE  ORIGIN  OF  COMEDY 

i.  The  dramatic  instinct  is  one  of  the  most  fundamental 
and  primitive  of  human  characteristics.  It  appears  in  the 
young  child's  fondness  for  playing  house  and  "dressing  up." 
It  is,  in  fact,  closely  akin  to  the  proneness  exhibited  by  many 
animals  to  imitate  one  another's  cries.  Among  nearly  all 
primitive  races  mimicry  forms  an  important  part  of  dance 
and  ritual,  and  many  peoples  have  gone  so  far  as  to  give 
regular  performances  for  which  more  or  less  preparation  has 
been  made. 

In  only  one  country,  however,  so  far  as  we  know,  has  this 
primitive  mimicry  ever  developed  into  a  genuine  form  of 
art.  The  literary  drama  is  an  original  creation  of  the  Greeks 
alone ;  and  yet  they  took  the  decisive  step  not  once  merely 
but  twice,  since  tragedy  and  comedy  grew  up  independently. 

Greek  comedy  originated  in  the  songs  and  revels  connected 
with  the  worship  of  Dionysus,  god  of  wine.  We  cannot 
trace  in  detail  just  how  and  where  mere  rustic  buffoonery 
became  gradually  richer  in  content  and  more  artistic  in 
form.  Tradition  connects  the  name  of  Susarion  of  Megara 
with  the  later  stages  of  the  process,  and  places  him  about 
the  middle  of  the  sixth  century  B.C.  Epicharmus  of  Sicily 
had  founded  a  genuine  comedy  by  the  end  of  the  same 
century.  It  was  in  Athens,  however,  that  comedy  under- 
went its  final  development  and  found  a  permanent  home, 
as  tragedy  had  done  before.  The  beginnings  of  a  literary 
comedy  at  Athens  can  be  traced  to  the  period  of  the  Persian 
wars. 


10  INTRODUCTION 

• 

OLD  ATTIC  COMEDY 

2.  The  earliest,  and  in  fact  the  only,  Greek  comic  poet 
from  whom  we  have  complete  plays  is  Aristophanes,  who 
lived  in  Athens  from  about  444 l  to  386  B.C.  We  may  illus- 
trate the  early  period  of  Athenian  comedy,  the  so-called 
Old  Attic  Comedy,  by  an  account  of  one  of  his  plays,  The 
Birds* 

The  scene  is  laid  in  a  wild,  uninhabited  country,  with 
a  bunch  of  shrubbery  in  the  background.  Enter  two  Athe- 
nians, Peithetaerus  (Plausible)  and  Euelpides  (Hopeful). 
They  carry  birds  on  their  hands  to  guide  them  to  a  region 
where  they  will  be  free  from  the  troubles  of  Athenian  life. 
"For  we,"  they  say, 

Have  deemed  it  fitting  to  betake  ourselves 
To  these  our  legs,  and  make  our  person  scarce. 
Not  through  disgust  or  hatred  or  disdain 
Of  our  illustrious  birthplace,  which  we  deem 
Glorious  and  free ;   with  equal  laws  ordained 
For  fine  and  forfeiture  and  confiscation, 
With  taxes  universally  diffused ; 
And  suits  and  pleas  abounding  in  the  Courts. 
For  grasshoppers  sit  only  for  a  month 
Chirping  upon  the  twigs;    but  our  Athenians 
Sit  chirping  and  discussing  all  the  year, 
Perched  upon  points  of  evidence  and  law. 
Therefore  we  trudge  upon  our  present  travels, 
With  these  our  sacrificial  implements, 
To  seek  some  easier  unlitigious  place, 
Meaning  to  settle  there  and  colonize. 

1  I  owe  this  date  to  Professor  Edward  Capps. 

-  The  following  analysis  is  abridged  from  Capps'  From  Homer  to  Theoc- 
ritus, pp.  278-286. 


INTRODUCTION  1 1 

They  reach  the  home  of  Hoopoe  (represented  in  the 
scenery),  who  answers  their  summons.  The  make-up  of 
the  actor  who  represents  Hoopoe  is  as  grotesque  as  pos- 
sible, and  is  frankly  ridiculed  by  the  visitors:  "Heracles, 
what  plumage  !  Are  you  a  bird  or  a  peacock  ?"  The 
scarcity  of  feathers  upon  his  body  is  explained  by  Hoopoe 
as  due  to  the  molting  season.  The  life  of  the  birds,  as 
depicted  by  Hoopoe  —  no  need  of  money,  field  sports, 
nothing  to  do  but  banquet  in  the  gardens  —  seems  so  at- 
tractive to  Peithetaerus,  the  inventive  genius,  that  he  pro- 
poses a  scheme  for  the  aggrandizement  of  the  birds  :  "Build 
a  city  in  the  air,  between  earth  and  heaven ;  intercept 
the  savor  of  the  sacrifices  which  men  make  to  the  gods, 
and  thus  starve  out  the  latter  until  they  turn  over  the 
sovereignty  to  the  birds."  "Odds  nets  and  birdlime," 
says  Hoopoe,  "that's  a  clever  notion  !  I'm  with  you  if 
the  other  birds  agree."  So  he  calls  to  his  wife,  Nightingale : 

Awake  !   awake  ! 
Sleep  no  more,  my  gentle  mate  ! 
With  your  tiny  tawny  bill, 
Wake  the  tuneful  echo  shrill, 

On  vale  or  hill ; 
Or  in 'her  airy,  rocky  seat, 
Let  her  listen  and  repeat 
The  tender  ditty  that  you  tell, 

The  sad  lament, 

The  dire  event, 
To  luckless  Itys  that  befell. 

Thence  the  strain 

Shall  rise  again, 

And  soar  amain, 
Up  to  the  lofty  palace  gate ; 
Where  mighty  Apollo  sits  in  state ; 


12  INTRODUCTION 

In  Jove's  abode,  with  his  ivory  lyre, 
Hymning  aloud  to  the  heavenly  choir, 
While  all  the  gods  shall  join  with  thee 
In  a  celestial  symphony. 

While  the  nightingale  trills,  Hoopoe  calls  the  birds 
together : 

Hoop  !  hoop  ! 
Come  in  a  troop, 
Come  at  a  call, 
One  and  all, 
Birds  of  a  feather, 
All  together. 

Birds  of  a  humble,  gentle  bill, 
Smooth  and  shrill, 
Dieted  on  seeds  and  grain, 
Rioting  on  the  furrowed  plain, 
Pecking,  hopping, 
Picking,  popping, 
Among  the  barley  newly  sown. 

Birds  of  a  bolder,  louder  tone, 
Lodging  in  the  shrubs  and  bushes, 
Mavises  and  thrushes, 
On  the  summer  berries  browsing, 
On  the  garden  fruits  carousing, 
All  the  grubs  and  vermin  smousing. 

Four  stately  birds  first  make  their  appearance,  followed  by 
a  troop  of  twenty-four  —  the  chorus.  When  they  learn  that 
the  two  envoys  are  men,  they  are  wild  with  rage  and  propose 
to  tear  them  to  pieces  at  once : 

Form  in  rank,  form  in  rank; 
Then  move  forward  and  outflank  : 


INTRODUCTION  13 

Let  me  see  them  overpowered, 
Hacked,  demolished,  and  devoured ; 
Neither  earth,  nor  sea,  nor  sky, 
Nor  woody  fastnesses  on  high, 
Shall  protect  them  if  they  fly. 

Peithetaerus  and  Euelpides  hastily  erect  a  barricade  of 
pots  and  pans,  and  propose  to  defend  themselves ;  but 
Hoopoe  arranges  a  truce.  The  chorus  retire  to  listen  to  the 
envoys : 

Back  to  the  rear!   resume  your  station, 
Ground  your  wrath  and  indignation! 
Sheathe  your  fury !   stand  at  ease, 
While  I  proceed  to  question  these : 
What  design  has  brought  them  here  ? 

Peithetaerus  first  proves  by  comic  instances  that  the  birds, 
and  not  the  gods,  were  originally  sovereign  over  all.  He 
then  develops  his  plan  : 

Then  I  move  that  the  birds  shall  in  common  repair 

To  a  centrical  point,  and  encamp  in  the  air; 

And  intrench  and  inclose  it,  and  fortify  there : 

And  build  up  a  rampart,  impregnably  strong, 

Enormous  in  thickness,  enormously  long, 

Bigger  than  Babylon ;    solid  and  tall, 

With  bricks  and  bitumen,  a  wonderful  wall. 

As  soon  as  the  fabric  is  brought  to  an  end, 

A  herald  or  envoy  to  Jove  we  shall  send, 

To  require  his  immediate  prompt  abdication ; 

And  if  he  refuses,  or  shows  hesitation, 

Or  evades  the  demand,  we  shall  further  proceed, 

With  legitimate  warfare  avowed  and  decreed : 

With  a  warning  and  notices,  formally  given, 

To  Jove,  and  all  others  residing  in  heaven, 


14  INTRODUCTION 

Forbidding  them  ever  to  venture  again 

To  trespass  on  our  atmospheric  domain, 

With  scandalous  journeys,  to  visit  a  list 

Of  Alcmenas  and  Semeles ;   if  they  persist, 

We  warn  them  that  means  will  be  taken  moreover 

To  stop  their  gallanting  and  acting  the  lover. 

The  birds  enthusiastically  adopt  the  scheme.  The 
Athenians  enter  Hoopoe's  nest  in  order  to  provide  themselves 
with  plumage.  While  the  scene  is  vacant,  the  chorus 
sings. 

Peithetaerus  and  Euelpides  come  out  in  their  new  feathers 
and  decide  to  call  the  new  town  by  the  imposing  name  of 
Cloudcuckootown.  Then  follows  a  series  of  short  episodes, 
unnecessary  to  the  plot,  but  illustrating  at  least  the  annoy- 
ances of  colonizing.  A  priest  comes  to  perform  the  religious 
rites  of  dedication.  A  poet  produces  samples  of  his  skill  in 
dedication  odes.  A  soothsayer  peddling  oracles  is  followed 
by  a  surveyor  with  a  load  of  mathematical  instruments, 
the  surveyor  by  a  consul  from  Athens,  the  consul  by  a 
hawker  of  laws  for  colonies.  These  are  driven  out  by 
Peithetaerus,  one  after  the  other. 

The  episodes  that  follow  resume  the  plot.  Short  odes  by 
the  chorus  serve  to  break  the  monotony.  Word  is  brought 
that  the  new  town  is  finished.  A  messenger  reports  that 
some  god  has  eluded  the  sentinels.  It  proves  to  be  Iris,  a 
saucy,  frightened  soubrette,  on  her  way  to  tell  men  to  pay 
up  their  sacrifices  long  due.  But  Peithetaerus  sends  her 
back  to  Zeus  with  an  ultimatum,  after  poking  fun  at  her 
dress  and  manners.  Then  come  people  from  the  earth, 
eager  to  join  the  bird  colony  —  a  parricide,  Cinesias  (a  well- 
known  but  despised  Athenian  poet  of  the  day),  and  an 
informer  —  all  of  whom  Peithetaerus  unceremoniously  bustles 
out  of  his  city.  Prometheus  sneaks  down  from  Olympus, 


INTRODUCTION  15 

all  muffled  up,  carrying  an  umbrella  to  hide  him  from  Zeus, 
and  looking  about  with  fear  and  trembling. 

Pro.      Oh  dear  !     If  Jupiter  should  chance  to  see  me  ! 

Where's    Peithetaerus  ?         Where  ?         Peith.    Why, 
what's  all  this  ? 

This  fellow  muffled  up?     Pro.    Do  look  behind  me; 

Is  anybody  watching  ?     any  gods 

Following  and  spying  after  me  ?     Peith.    No,  none, 

None  that  I  can  see,  there's  nobody.     But  you  ! 

What  are  ye  ?     Pro.    Tell  me,  what's  the  time  of  day  ? 
Peith.   Why,  noon,  past  noon ;    but  tell  me,  who  are  ye  ? 

Speak. 

Pro.      Much  past  ?  How  much  ?     Peith.   Confound  the  fool, 
I  say, 

The  insufferable  blockhead  !     Pro.    How's  the  sky  ? 

Open  or  overcast  ?     Are  there  any  clouds  ? 
Peith.    Be  hanged  !     Pro.   Then  I'll  disguise  myself  no  longer. 
Peith.    My  dear  Prometheus  !     Pro.   Hold  your  tongue,  I  beg ; 

Don't  mention  my  name  !     If  Jupiter  should  see  me, 

Or  overhear  me,  I'm  ruined  and  undone. 

But  now,  to  give  you  a  full,  complete  account 

Of  everything  that's  passing  there  in  heaven  — 

The    present    state    of   things.  .  .  .     But    first    I'll 
trouble  you 

To  take  the  umbrella,  and  hold  it  overhead, 

Lest     they     should    overlook     us.      Peith.    What    a 
thought ! 

Just  like  yourself !     A  true  Promethean  thought ! 

Stand  under  it,  here  !     Speak  boldly ;   never  fear. 

Prometheus  then  relates  that  the  gods  are  about  ready 
to  make  terms,  and  advises  Peithetaerus  not  to  consent  to 
any  agreement  until  Zeus  shall  formally  acknowledge  the 
supremacy  of  the  birds  by  giving  him  the  hand  of  Sover- 


1 6  INTRODUCTION 

eignty,  "a  most  delightful,  charming  girl,  Jove's  house- 
keeper, that  manages  his  matters,  serves  out  his  thunder- 
bolts, arranges  everything."  Soon  three  pompous  peace 
commissioners  from  Olympus  arrive  —  Poseidon,  Heracles, 
and  a  barbarian  god.  Peithetaerus  bribes  Heracles  by 
cooking  savory  dainties  under  his  nose,  promising  a  dinner 
for  his  vote.  The  barbarian  god's  language  cannot  be  under- 
stood ;  so  his  vote  is  counted  with  that  of  Heracles.  Po- 
seidon protests  in  vain.  The  commissioners  have  agreed 
to  give  the  princess  Sovereignty  to  Peithetaerus  in  marriage. 
The  play  closes  with  a  wedding  song  by  the  chorus  in  cele- 
bration of  the  nuptials,  while  Peithetaerus  leads  out  his  bride 
at  the  head  of  the  procession,  brandishing  in  his  hand  the 
thunderbolt  of  the  ex-king,  Zeus,  and  singing  : 

Birds  of  ocean  and  of  air, 
Hither  in  a  troop  repair, 
To  the  royal  ceremony, 
Our  triumphant  matrimony  ! 

Come  for  us  to  feast  and  feed  ye  ! 

Come  to  revel,  dance,  and  sing  !  — 
Lovely  creature  !    Let  me  lead  ye 
Hand  in  hand,  and  wing  to  wing. 

Apparently  the  play  was  intended,  in  part  at  least,  as  a 
satire  upon  such  visionary  schemes  on  the  part  of  the  poet's 
fellow  countrymen  as  the  fateful  expedition  against  Sicily. 
Many  of  the  plays  of  the  Old  Comedy  had  a  still  more  direct 
bearing  upon  current  politics,  and  most  of  them  were  teeming 
with  gross  caricatures  of  well-known  persons. 

The  political  changes  which  followed  the  close  of  the  Pelo- 
ponnesian  War  made  it  more  and  more  dangerous  for  the 
comic  poets  to  attack  public  men  and  measures,  and  after 
the  loss  of  Athenian  independence  the  discussion  of  affairs 
of  state  on  the  stage  was  almost  completely  given  up.  Other 


INTRODUCTION  17 

influences  no  less  powerful  were  at  work  to  change  the  char- 
acter of  comedy.  The  refinement  of  taste  which  took  place 
in  the  fourth  century  tended  to  discredit  the  extravagant 
and  often  indecent  burlesque  of  the  earlier  poets.  The 
growth  of  cosmopolitan  feeling  and  the  spread  of  interest 
in  the  drama  beyond  the  borders  of  Attica  encouraged  the 
production  of  plays  which  did  not  depend  for  their  appeal 
upon  familiarity  with  the  current  life  of  Athens. 


EURIPIDES 

3.  Among  the  strongest  influences  making  for  a  change  in 
the  comedy  of  the  fourth  century  was  tragedy.  Greek 
tragedy,  though  its  characters  and  incidents  were  taken  from 
mythology,  had  always  dealt  with  the  great  problems  of  life 
which  belong  to  every  time  and  all  lands.  Not  infrequently 
the  plays  had  a  special  bearing  upon  some  question  under 
discussion  at  the  time  of  their  presentation.  In  Euripides' 
hands  characters  as  well  as  problems  were  brought  near  to  or- 
dinary daily  life ;  he  undertook  to  represent  men  and  women 
as  they  are.  In  other  words,  Euripidean  tragedy  tended  to 
draw  nearer  to  the  matter-of-fact  atmosphere  of  comedy. 
We  choose  for  analysis  a  play  which  in  some  respects  is  nearer 
to  comedy  than  are  most  of  the  others  —  Iphigenia  in  the 
Land  of  the  Taurians. 

The  time  of  the  play  is  several  years  after  the  fall  of  Troy. 
King  Agamemnon,  on  his  victorious  return  from  Troy,  has 
been  slain  by  his  wife  Clytemnestra.  Their  son  Orestes  has 
got  vengeance  by  slaying  his  mother,  and  the  Furies  are  pur- 
suing him,  mad  with  remorse,  throughout  the  world.  The 
scene  shows  the  front  of  a  temple  in  the  land  of  the  Taurians, 
on  the  shore  of  the  Black  Sea.1 

1  The  translations  are  Professor  Gilbert  Murray's. 

TER.    ANDRIA 2 


1 8  INTRODUCTION* 

Iphigenia  enters  from  the  temple  and  tells  how,  when  the 
ships  of  the  Greeks  were  becalmed  at  Aulis,  the  seer  Calchas 
declared  that  Artemis  demanded  the  sacrifice  of  Agamem- 
non's first-born  daughter,  Iphigenia  herself. 

So  from  my  mother's  side 
By  lies  Odysseus  won  me,  to  be  bride 
In  Aulis  to  Achilles.     When  I  came, 
They  took  me  and  above  the  altar  flame 
Held,  and  the  sword  was  swinging  to  the  gash, 
When,  lo,  out  of  their  vision  in  a  flash 
Artemis  rapt  me,  leaving  in  my  place 
A  deer  to  bleed ;   and  on  through  a  great  space 
Of  shining  sky  upbore  and  in  this  town 
Of  Tauris  the  Unfriended  set  me  down ; 
Where  o'er  a  savage  people  savagely 
King  Thoas  rules.     This  is  her  sanctuary 
And  I  her  priestess.     Therefore,  by  the  rite 
Of  worship  here,  wherein  she  hath  delight  — 
Though  fair  in  naught  but  name  .  .  .     But  Artemis 
Is  near;   I  speak  no  further.     Mine  it  is 
To  consecrate  and  touch  the  victim's  hair; 
Doings  of  blood  unspoken  are  the  care 
Of  others,  where  her  inmost  chambers  lie. 

Iphigenia  goes  back  into  the  temple.  Orestes  and  his 
friend  Pylades  enter  cautiously.  They  have  been  com- 
manded by  the  oracle  of  Apollo  to  bring  to  Athens  the  image 
of  Artemis  which  is  kept  in  this  temple.  After  a  reconnoiter 
they  retire  to  the  seashore  to  wait  till  nightfall. 

Iphigenia  and  her  Greek  w-aiting  women,  the  chorus,  sing 
of  their  happy  life  at  home  in  Greece  and  of  their  present 
misery.  Suddenly  a  herdsman  appears  and  announces  the 
capture  of  two  strangers  on  the  seashore, 


INTRODUCTION  19 

Young,  bold,  good  slaughter  for  the  altar-stone 

Of  Artemis  !     Make  all  the  speed  ye  may ; 

'Tis  not  too  much.     The  blood-bowl  and  the  spray  ! 

He  tells  how  he  and  his  mates  came  upon  two  men  by  the 
shore,  how  one  of  them  in  a  fit  of  madness  thought  he  saw 
Furies  threatening  him,  then  drew  his  sword  and  fell  upon 
the  cattle,  and  how  after  a  stiff  fight  the  two  men  were 
surrounded  and  captured  by  a  great  throng  of  herdsmen. 
The  strangers'  dress  shows  that  they  are  Greeks. 

Iph.    'Tis  well.     Let  thy  hand  bring  them,  and  mine  own 
Shall  falter  not  till  here  god's  will  be  done. 

[Exit  Herdsman.] 

O  suffering  heart,  not  fierce  thou  wast  of  old 
To  shipwrecked  men.  Nay,  pities  manifold 
Held  thee  in  fancy  homeward,  lest  thy  hand 
At  last  should  fall  on  one  of  thine  own  land. 
But  now,  .... 

a  cruel  woman  waits  you  here, 
Whoe'er  ye  be,  and  one  without  a  tear. 

'Tis  true  :   I  know  by  mine  own  evil  will : 
One  long  in  pain,  if  things  more  suffering  still 
Fall  to  his  hand,  will  hate  them  for  his  own 
Torment.  .  .  .     And  no  great  wind  hath  ever  blown, 
No  ship  from  god  hath  passed  the  Clashing  Gate, 
To  bring  me  Helen,  who  hath  earned  my  hate, 
And  Menelaus,  till  I  mocked  their  prayers 
In  this  new  Aulis,  that  is  mine;   not  theirs, 
Where  Greek  hands  held  me  lifted,  like  a  beast 
For  slaughter,  and  my  throat  bled.     And  the  priest 
My  father  !  .  .  .     Not  one  pang  have  I  forgot. 

The  prisoners  are  brought  in  and  Iphigenia  persuades  them 
to  give  her  news  of  Greece.  Then  she  has  a  sudden  impulse 


20  INTRODUCTION 

to  save  one  of  the  victims  and  send  word  by  him  to  her  kins- 
men in  Greece.  Orestes  insists  that  he  will  be  the  victim  of 
the  goddess,  and  that  Pylades  shall  return  home.  Before 
giving  him  the  tablet,  Iphigenia  binds  him  by  an  oath  to 
deliver  her  letter. 

Pyl.     But  stay  :   there  is  one  chance  we  have  forgot. 

Iph.    A  new  oath  can  be  sworn,  if  this  serve  not. 

Pyl.     In  one  case  set  me  free.     Say  I  be  crossed 

With  shipwreck,  and,  with  ship  and  tablet  lost 

And  all  I  bear,  my  life  be  saved  alone : 

Let  not  this  oath  be  held  a  thing  undone, 

To  curse  me.     Iph.    Nay,  then,  many  ways  are  best 

To  many  ends.     The  words  thou  earnest 

Enrolled  and  hid  beneath  that  tablet's  rim, 

I  will  repeat  to  thee,  and  thou  to  him 

I  look  for.  .  .  . 

Pyl.    For  thy  sake  and  for  mine  'tis  fairer  so. 
Now  let  me  hear  his  name  to  whom  I  go 
In  Argolis,  and  how  my  words  should  run. 

Iph.    Say:   "To  Orestes,  Agamemnon's  son, 

She  that  was  slain  in  Aulis,  dead  to  Greece 
Yet  quick,  Iphigenia  sendeth  peace:" 

Or.      Iphigenia  !     Where  ?     Back  from  the  dead  ? 

Iph.     'Tis  I.    But  speak  not,  lest  thou  break  my  thread.  — 
"Take  me  to  Argos,  brother,  ere  I  die, 
Back  from  the  Friendless  Peoples  and  the  high 
Altar  of  her  whose  bloody  rites  I  wreak." 

Or.      [Aside.]  Where  am  I,  Pylades  ?    How  shall  I  speak  ? 

Iph.    "  Else  one  in  grief  forsaken  shall,  like  shame, 

Haunt   thee."      Pyl.     [Aside.]     Orestes  !      Iph.    [Over- 
hearing him.]     Yes  :   that  is  the  name. 

Pyl.    Ye  gods  above  !     Iph.    Why  callest  thou  on  god 

For  words  of  mine  ?     Pyl.    'Tis  nothing.    'Twas  a  road 


INTRODUCTION  21 

My  thoughts  had  turned.     Speak  on.  —  No  need 

for  us 
To  question  :   we  shall  hear  things  marvelous. 

Iph.         Tell  him  that  Artemis  my  soul  did  save, 
I  wot  not  how,  and  to  the  altar  gave 
A  fawn  instead  ;   the  which  my  father  slew, 
Not  seeing,  deeming  that  the  sword  he  drew 
Struck  me.     But  she  had  borne  me  far  away 
And  left  me  in  this  land.  —  I  charge  thee,  say 
So  much.     It  all  is  written  on  the  scroll. 

Pyl.         An  easy  charge  thou  layest  on  my  soul, 

A  glad  oath  on  thine  own.     I  wait  no  more, 
But  here  fulfill  the  service  that  I  swore. 
Orestes,  take  this  tablet  which  I  bear 
To  thine  own  hand,  thy  sister's  messenger. 

Or.  I  take  it,  but  I  reck  not  of  its  scrip 

Nor  message.     Too  much  joy  is  at  my  lip. 
Sister  !     Beloved  !     Wildered  though  I  be, 
My  arms  believe  not,  yet  they  crave  for  thee. 
Now,  filled  with  wonder,  give  me  my  delight ! 

[He  goes  to  embrace  her.      She  stands  speechless.} 

Leader.    Stranger,  forbear  !     No  living  man  hath  right 

To  touch  that  robe.     The  goddess  were  defiled  ! 

Or.  O  sister  mine,  O  my  dead  father's  child, 

Agamemnon's  child ;   take  me  and  have  no  fear, 
Beyond  all  dreams  'tis  I  thy  brother  here. 

Iph.         My  brother  ?     Thou  ?  .  .  .     Peace  !     Mock  at  me 

no  more. 
Argos  is  bright  with  him  and  Nauplia's  shore. 

Or.  Unhappy  one  !     Thou  hast  no  brother  there. 

Iph.         Orestes  .  .  .  thou  ?     Whom  Clytemnestra  bare  ? 

Or.  To  Atreus'  first-born  son,  thy  sire  and  mine. 

Iph.         Thou  sayst  it :   oh,  give  me  some  proof,  some  sign  ! 

Or.  What  sign  thou  wilt.     Ask  anything  from  home. 


22  INTRODUCTION* 

Iph.         Nay,  thou   speak  :    'tis  from   thee   the  sign   should 
come. 

Or.  That  will  I.  —  First,  old  tales  Electra  told. 

Thou  knowst  how  Pelops'  princes  warred  of  old  ? 

Iph.          I    know :     the   Golden    Lamb   that    wrought    their 
doom. 

Or.  Thine  own  hand  wove  that  story  on  the  loom  .  .  . 

Iph.         How  sweet !     Thou  movest  near  old  memories. 

Or.  With  a  great  Sun  back  beaten  in  the  skies. 

Iph.          Fine  linen  threads  I  used.     The  memories  come. 

Or.  And  mother  gave  thee  shrift-water  from  home 

For  Aulis.  .  .  .     Iph.    I  remember.     Not  so  fair 
A  day  did  drink  that  water  !     Or.    And  thine  hair 
They  brought  us  for  thy  dying  gift,  and  gave 
To  mother.     Iph.    Yes  :   for  record  on  the  grave 
I  sent  it,  where  this  head  should  never  lie. 

Or.  Another  token,  seen  of  mine  own  eye. 

The  ancient  lance  that  leapt  in  Pelops'  hand, 

To  win  his  bride,  the  virgin  of  the  land, 

And  smite  Oenomaus,  in  thy  chamber  hid  .  .  . 

Iph.         [Falling  into  his  arms.}     Beloved  !     Oh,  no  other, 

for  indeed 

Beloved  art  thou  !     In  mine  arms  at  last, 
Orestes  far  away. 

Or.  And  thou  in  mine,  the  evil  dreaming  past, 

Back  from  the  dead  this  day  ! 
Yet  through  the  joy  tears,  tears  and  sorrow  loud 
Are  o'er  mine  eyes  and  thine  eyes,  like  a  cloud. 

Greek  wits  playing  upon  barbarian  superstition  readily 
find  a  way  of  escape.  The  three  set  sail  with  the  image  of 
Artemis. 


INTRODUCTION  23 

NEW  ATTIC  COMEDY 

4.  The  New  Attic  Comedy  which  grew  up  in  the  latter 
half  of  the  fourth  century  B.C.  was  the  heir  of  the  tragedy  of 
Euripides  no  less  than  of  the  Old  Comedy  of  Aristophanes. 
It  was  like  the  Old  Comedy  in  taking  its  characters  from  every- 
day life  instead  of  from  myths  and  in  a  certain  freedom  from 
hampering  traditions.  Like  Old  Comedy,  too,  is  the  avoid- 
ance of  the  stronger  forms  of  pity  and  fear,  the  emotions  which 
Aristotle  regards  as  characteristic  of  tragedy.  Closely  allied 
with  this  feature  is  the  avoidance  of  unhappy  endings.  From 
tragedy  of  the  Euripidean  type  the  New  Comedy  got  its 
favorite  theme  of  romantic  love  and  many  dramatic  devices, 
such  as  the  mutual  recognition  of  long  separated  relatives. 
Perhaps  the  most  important  of  Euripides'  contributions  was 
the  tendency  toward  realism  which  made  it  possible  for 
Aristophanes  of  Byzantium  to  say  of  the  greatest  author  of 
the  New  Comedy:  "Menander  and  Life,  which  of  you 
imitated  the  other  ?" 

These  two  lines  of  influence  varied  in  their  proportion- 
ate strength  from  author  to  author  and  from  play  to  play. 
In  some  pieces  the  rollicking,  boisterous  spirit  of  the  Old 
Comedy  survived,  while  others  were  as  romantic  and  subtle 
as  any  of  Euripides'  tragedies.  There  were  many  innova- 
tions, too,  which  cannot  be  traced  directly  to  the  influence  of 
anything  in  the  drama  of  the  fifth  century.  Perhaps  the 
most  important  of  these  concerned  the  chorus,  which  in  the 
New  Comedy  had  no  essential  connection  with  the  play,  but 
merely  furnished  a  musical  interlude  between  the  acts. 

5.  We  may  illustrate  some  of  these  characteristics  by  a 
play  of  Menander,  the  author  of  the  original  of  Terence's 
Andria.  None  of  his  pieces  has  been  preserved  entire,  and 
until  recently  we  have  had  only  such  fragments  of  them  as 
are  contained  in  quotations  by  later  writers.  Toward  the 


24  INTRODUCTION 

close  of  the  year  1905  there  was  discovered  at  Aphroditopolis 
in  Egypt,  in  the  ruins  of  a  private  house  of  the  Roman  period, 
a  large  jar  full  of  papyrus  manuscripts.  For  their  greater 
safety  some  leaves  of  an  old  book  had  been  spread  over  the 
top.  The  manuscripts  in  the  jar  were  found  to  be  in  excellent 
condition ;  they  contained  accounts.  The  sheets  on  top, 
badly  damaged  and  some  of  them  lost,  belonged  to  a  copy  of 
several  plays  of  Menander.  It  was  possible  to  make  out  a 
considerable  portion  of  two  of  the  plays  and  a  smaller  amount 
of  two  others.  Further  fragments  of  one  of  the  latter  have 
come  to  light  in  other  parts  of  Egypt,  and  so  we  now  have 
from  a  third  to  a  half  of  each  of  three  of  Menander's  comedies. 
The  following  is  an  outline  of  the  Periceiromene  or  The  Girl 
with  Shorn  Locks. 

The  scene  represents  a  street  in  Corinth  with  the  fronts  of 
two  neighboring  houses.  In  one  of  them  dwell  Pataecus,  a 
wealthy  citizen,  his  wife  Myrrhina,  and  his  adopted  son 
Moschion,  whom  Myrrhina  has  brought  up  as  her  son  by  a 
former  husband,  although  he  was  really  a  foundling.  In  the 
other  house  live  Polemon,  a  Corinthian  soldier,  and  his 
common-law  wife  Glycera. 

Polemon  *  enters  with  his  slave  Sosias  and  tells  him  that 
last  evening,  on  his  return  from  a  campaign,  he  found  his  wife 
in  the  arms  of  the  young  man  next  door.  Bewildered  by 
what  he  saw  and  well  aware  of  his  own  hot  temper,  he  did  not 
make  his  presence  known,  but  withdrew  to  the  country,  intend- 
ing to  question  Glycera  this  morning.  The  night  has  been 
tedious  and  he  has  beguiled  the  hours  with  overmuch  drinking. 

Sosias  is  sent  to  search  for  Moschion.  Glycera  comes 
from  the  house  just  as  Polemon  is  about  to  enter.  She  greets 
him  affectionately,  and  her  manner  shows  no  trace  of  a  shame- 

1  The  account  of  the  opening  scenes  is  conjectural.  I  have  abbreviated 
the  parts  translated  by  omitting  words,  phrases,  and  sentences  wherever 
possible. 


INTRODUCTION  25 

ful  secret.  She  answers  his  first  questions  with  an  air  of 
injured  innocence.  When  he  tells  her  just  what  he  has 
seen,  she  refuses  an  explanation  and  simply  demands  that  he 
believe  her  guiltless.  In  his  present  distress  of  mind,  aggra- 
vated by  drink,  such  an  attitude  seems  to  him  proof  of  guilt. 
In  a  fit  of  rage  he  drags. the  girl  indoors,  and  slashes  off"  her 
beautiful  hair  with  his  sword.  Repentance  comes  swiftly, 
but  it  is  Glycera's  turn  to  be  indignant;  and  so  Polemon 
departs  for  the  country  in  despair.  Glycera  takes  refuge 
with  her  kindly  neighbors,  Pataecus  and  Myrrhina,  after 
first  learning  that  Moschion  is  not  at  home. 

Then  appears  the  goddess  Agnoia,  "Misapprehension." 
She  tells  how  eighteen  years  ago  Pataecus'  first  wife  died  in 
giving  birth  to  a  boy  and  a  girl.  Pataecus  learned  on  the 
same  day  that  he  had  been  ruined  by  shipwreck,  and,  over- 
whelmed by  his  double  misfortune,  ordered  the  children  to  be 
exposed.  "They  were  found,"  the  goddess  continues,  "by  a 
poor  woman,  who  kept  the  girl  as  her  own  child,  but  gave  the 
boy  to  a  wealthy  matron  who  now  lives  in  this  house  (i.e., 
to  Myrrhina),  for  she  wanted  a  son.  Some  years  passed ; 
the  war  persisted,  the  troubles  of  the  Corinthians  increased, 
the  old  woman  grew  poorer  still.  The  girl  herself  was  grown 
—  it  was  she  you  saw  a  moment  ago  —  and  had  a  lover  in 
this  impetuous  young  Corinthian.  So  the  foster  mother 
gave  her  to  him  as  her  own  daughter.  But,  already  feeble 
and  seeing  that  her  days  were  numbered,  she  told  the  girl 
the  truth  and  gave  her  the  clothes  she  had  found  her  in. 
She  also  pointed  out  to  Glycera  the  brother  she  had  never 
known  (Moschion) :  for  she  feared  a  time  might  come  when 
the  girl  would  need  help,  and  this  was  her  only  relative. 

"Not  long  ago  the  soldier  bought  this  house.  But  Glycera, 
even  though  she  lives  next  door  to  her  brother,  has  not  told 
her  secret;  she  sees  him  prospering  and  doesn't  want  to 
drag  him  down. 


26  INTRODUCTION 

"Last  evening  she  happened  to  be  sending  her  maid  some- 
where, and  Moschion  caught  sight  of  her  —  he's  a  bold  chap, 
always  loitering  before  her  house  on  purpose.  When  he 
saw  her  at  the  door  he  rushed  in  and  kissed  and  embraced 
her,  and,  knowing  it  was  her  brother,  she  didn't  resist.  Then 
Polemon  came  home  and  saw  it  all." 

The  goddess  tells  us  that  this  tangle  of  misunderstanding 
is  part  of  a  benevolent  plan  of  hers.  Eventually  all  con- 
cerned will  learn  the  truth  that  is  essential  to  their  happiness; 
"for  in  a  god's  hands  evil  turns  to  good." 

The  central  portion  of  the  play  is  chiefly  occupied  with 
Moschion's  absurd  wooing  of  his  own  sister,  and  an  attempt 
on  the  part  of  the  soldier's  servant  to  lay  siege  to  the  house 
where  Glycera  is  staying,  as  he  supposes,  with  her  paramour. 
Both  episodes  must  have  been  very  amusing. 

At  length  Polemon  returns  from  the  country  and  finds 
Glycera  gone.  He  meets  his  neighbor  Pataecus  and  tells 
him  that  he  intends  to  force  Glycera  to  return  to  him.  Patae- 
cus objects  that  she  is  not  his  lawful  wife. 

Pol.  What's  that  you  say,  Pataecus  ?  What's  the  differ- 
ence ?  I've  always  considered  her  my  wife. 

Pat,    Don't  shout !     Who  gave  the  bride  away  ? 

Pol.    Why  !     She  did  herself. 

Pat.  Just  so  !  I  suppose  she  loved  you  then ;  now  she 
doesn't,  and  she  has  gone  away  to  escape  your  shameful 
treatment. 

When  Pataecus  shows  that  for  the  same  reason  summary 
vengeance  on  Moschion  is  out  of  the  question,  Polemon 
exclaims  : 

I  don't  know  what  to  say,  but  this :  I'll  hang  myself. 
Glycera  has  left  me;  Glycera,  I  say,  Pataecus,  has  left  me  ! 
But  if  you  think  this  is  a  good  plan  —  you  know  her  well, 


INTRODUCTION  27 

and  have  often  spoken  with  her  —  first  go  and  talk  to  her; 
take  her  my  message,  I  beg  you. 

Pat.  Now  that's  just  what  I  think  ought  to  be  done. 
[Starts  away.} 

Pol.    But  of  course  you  are  a  good  speaker,  Pataecus  ? 

Pat.    Fairly. 

Pol.  But  really,  Pataecus,  you  must  be.  That's  the  way 
to  save  the  day.  For  if  I've  ever  been  wholly  in  the  wrong  — 
If  I  don't  always  do  my  best  —  Now  if  you'd  only  look  at  the 
clothes  she  has  — 

Pal.    Oh  !     That's  all  right. 

Pol.    Do  look  at  them,  Pataecus ;   you'll  be  sorrier  for  me. 

Pat.    [Aside.]     Ye  gods  ! 

Pol.  Come  on  !  What  clothes !  How  fine  she  looked 
when  she  wore  them  !  For  I  suppose  you've  never  seen. 

Pat.    Yes,  I  have. 

Pol.  And  then  she  was  so  magnificently  tall ;  but  why  do 
I  speak  of  that  ?  —  fool  that  I  am  to  talk  of  things  that  don't 
matter. 

Pat.    Oh  !     Not  at  all ! 

Pol.  You  think  not  ?  Well,  at  any  rate  you  must  see 
the  clothes.  Come  in. 

Pat.    Very  well,  I'll  come.     [Exeunt  into  Polemons  house.] 

The  next  we  see  of  Pataecus  he  is  in  the  midst  of  his  con- 
versation with  Glycera.  She  begs  him  to  inspect  the  tokens 
of  her  parentage  which  her  foster  mother  gave  her.  After  a 
short  lacuna  in  the  text  we  find  them  examining  some  figures 
embroidered  on  the  clothing  in  which  the  babies  were  exposed. 
Pataecus  has  made  out  one  figure.  "Isn't  this  a  goat  stand- 
ing next,  or  an  ox,  or  some  such  beast  ?" 

Gly.    It's  a  stag,  dear  friend,  not  a  goat ! 
Pat.    At  least  it  has  horns,  I  know  that  much. 
Gly.    And  this  third  ? 


28  INTRODUCTION 

Pat.  A  winged  horse.  These  things  belonged  to  my  poor 
wife  ! 

Moschion.  [Eavesdropping.]  Is  that  possible  r  I  think  it's 
inconceivable  that  my  mother  should  have  abandoned  her 
own  daughter.  But  if  it  is  true  and  this  is  really  my  sister, 
what  a  sweetheart  I  have  lost,  confound  my  luck  ! 

Pat.    Where  did  you  get  these  ?     Tell  me. 

Gly.  I  was  wrapped  in  them  when  they  picked  me  up,  a 
baby. 

Pat.  Look  up  a  moment,  let  me  see  your  face.  [Scans  her 
face.]  Were  you  lying  there  alone  ?  I  must  know  that. 

Gly.    No ;  they  exposed  my  brother  with  me. 


Pat.    Who  took  you  and  brought  you  up  ? 
Gly.   The  woman  who  found  me  lying  there  abandoned. 
Pat.    What  did  she  tell  you  to  remember  the  place  by  ? 
Gly.    She  said  there  was  a  spring  and  a  shady  nook. 
Pat.   Just  what  the  man  who  exposed  them  said  to  me  ! 
Gly.   Oh  !     Who  was  that  ?     Tell  me  if  you  may  ! 
Pat.   The  slave   who  exposed  them,  —  but  it  was   I  who 
would  not  rear  them. 

Further  questioning  makes  the  mutual  recognition  of 
father  and  daughter  complete. 

In  a  fragment  of  the  last  act  Doris,  Glycera's  maid,  has 
just  told  Polemon  of  her  mistress'  good  fortune. 

Pol.  But  what  shall  I  do,  Doris  ?  How  can  I  live  without 
her? 

Dor.    She  says  now,  she'll  come  back  to  you  .  .  . 

Pol.   Ye  gods  !     What's  that  you  say  ? 

Dor.    ...  if  you're  careful  to  treat  her  gently  hereafter. 

Pol.    I'd  do  everything  for  her,  you  may  be  sure.     That's 


INTRODUCTION  29 

splendid  news  you  bring.  Why  !  I'll  set  you  free  to-morrow, 
Doris.  [Exit  Doris.]  But  here's  the  message,  listen  !  — 
She's  gone.  That  was  a  mad  onslaught  of  impetuous  love 
that  took  me  captive.  So  it  was  her  brother  she  kissed,  not 
her  lover;  and  I  punished  her  for  my  jealousy.  When  I 
ought  to  have  looked  into  the  matter,  I  went  straight  and 
played  the  drunken  fool.  And  so  I  was  going  to  hang  my- 
self—  a  proper  thing  to  do  !  [Enter  Doris.]  What  is  it,  my 
Doris  ? 

Dor.    Good  news  !     She's  coming  to  you. 

Pol.    Is  she  making  fun  of  me  ? 

Dor.  No,  indeed  !  She  is  putting  on  her  stole,  and  her 
father  is  feasting  his  eyes  on  her.  You  ought  to  make  a 
thank  offering;  it's  a  sin  not  to,  when  she  has  had  such  good 
fortune. 

Pol.  You're  right !  There's  a  cook  here ;  he  shall  sacrifice 
the  pig. 

Dor.    Where  are  the  basket  and  the  other  utensils  ? 

Pol.  Oh  !  We'll  have  the  basket  part  of  the  sacrifice 
later  on ;  now  he  must  kill  this  pig.  I'll  take  a  garland  from 
some  altar  and  put  it  on.  [Takes  a  garland  from  the  altar  on 
the  stage  and  puts  it  on  his  head.] 

Dor.    [Mockingly.]     Now  you  look  much  more  persuasive. 

Pol.   Then  bring  Glycera  right  away. 

Dor.  Why,  she  was  just  ready  to  come  out  with  her 
father. 

Pol.  Her  father  ?  [Hears  some  one  open  the  door.]  What 
is  to  become  of  me  ?  [Rushes  into  his  house.] 

Dor.  O  dear  !  Are  you  going  to  run  away  ?  A  dragon 
can't  open  a  door.  —  I'll  go  in,  too,  to  help  if  he  needs  any- 
thing. [Exit  into  Polemons  house.  Enter  Pataecus  and 
Glycera.] 

Pat.  I'm  very  glad  to  hear  you  say,  "I'll  make  up  with 
him."  To  accept  his  apologies  when  you  have  risen  in  the 


30  INTRODUCTION 

world,  that  is  a  mark  of  real  Greek  character.  [Calling  at 
Polemons  door.}  Now  some  one  run  and  call  your  master 
out  here. 

Pol.  [Enters from  his  house.]  I'm  coming;  but  I  was  mak- 
ing a  thank  offering  because  I've  heard  that  Glycera  has 
really  found  her  parents  as  she  wished. 

Pat.  A  good  idea ;  but  listen  to  this :  I  give  you  this  girl 
to  be  your  lawful  wife. 

Pol.    I  take  her. 

Pat.   The  dowry  is  three  talents. 

Pol.   That  is  generous. 

Pat.  For  the  future  forget  you're  a  soldier,  and  never  do 
anything  reckless  to  those  you  love. 

Pol.  Now  that  I  have  come  so  near  to  ruin,  will  I  ever  be 
impulsive  again  ?  No,  not  even  in  my  dreams,  Glycera. 
Only  forgive  me,  dear  ! 

Gly.  Why  !  Don't  you  see  ?  The  beginning  of  our  good 
fortune  was  your  drunken  folly  ! 

Pol.   True,  dear  ! 

Gly.   That's  the  reason  why  you've  won  my  forgiveness. 

Pol.    Pataecus,  join  in  our  sacrificial  meal. 

Pat.  I've  got  to  arrange  another  match ;  I  want  my  son 
to  marry  the  daughter  of  Philinus. 

Moschion.  [Eavesdropping  again  ;  in  dismay.}  Ye  gods  in 
heaven  ! 

ROMAN  COMEDY 

6.  In  various  parts  of  Italy  there  early  grew  up  several 
kinds  of  mummery  and  buffoonery  similar  to  the  Greek  popu- 
lar impersonations  out  of  which  comedy  originated.  The 
Romans  therefore  had  native  materials  out  of  which  they 
might  have  developed  a  drama  of  their  own;  but  before 
they  had  done  so  they  came  under  the  spell  of  Greek  lit- 
erature. 


INTRODUCTION  31 

The  earliest  Roman  comedies  were  adaptations  of  Greek 
plays  of  the  New  Comedy.  The  first  of  these  was  written 
by  Lucius  Livius  Andronicus,  a  native  of  1  arentum  who  had 
been  brought  to  Rome  as  a  slave.  At  the  ludi  Romani  in 
240  B.C.  he  presented  a  Latin  tragedy  and  a  Latin  comedy, 
both  translated  from  the  Greek.  It  is  thought  that  the 
innovation  was  in  honor  of  the  successful  termination  of  the 
first  Punic  War  in  the  preceding  year.  The  experiment  was 
successful,  and  adaptations  of  Greek  plays  soon  became  a 
regular  feature  not  only  of  the  ludi  Romani  in  September,  but 
also  of  the  ludi  plebeii  in  November,  the  ludi  Megalenses  in 
April,  and  the  ludi  Apollinares  in  July.  Dramatic  exhibitions 
might  also  be  given  on  special  occasions,  such  as  a  triumph 
or  the  funeral  of  a  distinguished  man. 

7.  Since  the  Roman  audiences  had  had  no  such  long  and 
intimate  acquaintance  with  good  literature  as  the  Greek  poets 
could  always  count  upon,  and  since  the  Greek  manners 
represented  in  the  comedies  were  of  course  unfamiliar  at 
Rome,  many  modifications  were  necessary  in  order  to  make 
the  plays  intelligible  there.  Some  of  the  changes  seem  to  our 
more  sophisticated  taste  very  strange  indeed.  As  their 
hearers  had  no  interest  in  local  color  or  historic  accuracy,  the 
poets  did  not  hesitate  to  make  their  Greek  characters  use 
metaphors  based  upon  peculiarly  Roman  customs  and  allude 
to  Roman  magistrates  and  places  in  the  city  of  Rome  as  if 
these  belonged  to  the  Greek  town  in  which  the  scene  was  laid. 
Sometimes  the  Latinization  of  Greek  terms  is  so  careless  as 
to  be  ambiguous ;  thus  nummus  is  used  to  represent  several 
different  Greek  coins  —  much  as  if  we  should  Americanize 
the  English  "five  pounds"  and  "five  shillings"  alike  by  the 
phrase  "five  dollars."  It  was  found,  too,  that  the  popular 
taste  was  tickled  by  a  liberal  admixture  of  broad  Italian  wit. 


32  INTRODUCTION 

PLAUTUS 

8.  The  earliest  author  from  whom  we  have  complete 
Latin  plays  is  Plautus,  who  was  born  in  the  little  town  of 
Sarsina  in  Umbria  on  the  Gallic  frontier  before  250  B.C.,  and 
lived  until  184  B.C.  He  came  to  Rome  at  an  early  age,  and 
got  his  first  lessons  in  the  drama  as  a  stage  carpenter  or,  it 
may  be,  an  actor  (Gellius  says,  "in  operis  artificum  scaeni- 
corum").  Later  on  he  seems  to  have  traveled,  and  he  may 
have  picked  up  a  knowledge  of  Greek  life  at  that  time.  Still, 
his  interest  was  always  in  the  Roman  stage  rather  than  in 
his  Greek  models.  He  usually  chose  comedies  whose 
characters  were  painted  with  broad  strokes,  and  whose 
incidents  were  novel  or  sensational.  In  a  word,  he  preferred 
the  type  of  New  Comedy  which  approached  most  nearly  the 
boisterous  Old  Comedy;  and  he  seems  to  have  heightened 
the  colors  and  exaggerated  the  burlesque  on  his  own  account. 
Twenty  of  Plautus'  comedies  have  been  preserved.  We 
illustrate  with  some  of  the  earlier  scenes  of  the  Aulularia  or 
The  Hidden  Treasure. 

The  situation  at  the  opening  of  the  play  is  explained  by  a 
character  who  introduces  himself  quite  ingenuously  as  a 
Roman  hearth  god  : 

"That  none  may  wonder  who  I  am  I'll  tell  you  briefly. 
I'm  the  Lar  familiaris  of  this  household  from  whose  door 
you  saw  me  come.  This  house  has  for  many  years  been  my 
dwelling  and  my  care." 

The  grandfather  of  Euclio,  the  present  owner,  had  buried  a 
pot  of  gold  and  intrusted  it  to  the  hearth  god,  and  then  had 
died.  Since  son  and  grandson  had  both  neglected  the  wor- 
ship of  the  Lar,  the  Lar  had  long  refrained  from  disclosing 
the  treasure.  But  now  at  last,  in  reward  for  the  piety  of 
his  young  daughter,  Euclio  has  been  permitted  to  find  it. 

In  the  first  scene  Euclio  appears  with  a  stick  in  his  hand 


INTRODUCTION  33 

driving  Stapula,1  his  old  slave  woman,  out  of  the  house. 
"Clear  out,  I  say,  come,  clear  out;  you've  got  to  go  out  of 
doors,  you  pop-eyed  spy."  After  twenty  lines  of  threats  he 
takes  us  into  his  confidence.  "I'm  sure  I  never  saw  a  worse 
crook  than  this  old  woman,  and  I'm  desperately  afraid  she'll 
play  me  a  trick  or  find  out  where  the  gold  is  hid ;  for  the 
wretch  has  extra  eyes  in  the  back  of  her  head.  Now  I'll 
go  and  see  whether  the  gold  is  where  I  put  it." 

Presently  he  returns. 

End.  [To  himself.]  I  didn't  sweep  away  my  worries  and 
come  out  till  I  saw  that  everything  in  the  house  was  safe. 
[To  Stapula.]  Now  go  in  and  stay  on  guard. 

Stapula.  Really  ?  On  guard  in  there  ?  So  that  no  one 
shall  steal  the  house  ?  For  we  haven't  anything  else  that's 
worth  a  thief's  trouble ;  the  place  is  full  of  emptiness  and 
cobwebs. 

Eucl.  It's  a  wonder  Jupiter  wouldn't  make  me  a  king 
Philip  or  Darius  just  for  your  sake,  you  witch  !  I  want  those 
cobwebs  guarded.  Lock  the  door  with  two  bolts.  I'll  be 
back  presently.  [Exit  Stapula.]  It's  torture  to  me  to  leave 
my  house ;  but  I  understand  how  I  have  to  behave.  The 
chief  of  our  curia  promised  to  distribute  a  nummus  to  each  of 
us ;  if  I  fail  to  go  after  it,  I  suppose  everybody  will  immedi- 
ately suspect  that  I  have  a  pot  of  gold  at  home,  for  it  doesn't 
look  reasonable  for  a  poor  man  to  despise  a  little  cash  and  so 
not  go  to  get  his  nummus.  They're  suspicious  already.  I'm 
going  where  I  started  to,  and  then  I'll  come  back  home  as 
soon  as  I  can. 

On  his  return  he  is  met  by  his  rich  neighbor  Megadorus. 

Meg.  Good  morning,  Euclio ;  I  hope  luck  is  coming  your 
way. 

1  For  the  spelling  of  this  and  other  names  in  the  play,  see  on  Andria  51 
and  88  (notes  on  epebis  and  Pampilus). 

TER.    ANDRIA 3 


34  INTRODUCTION 

EucL   Thank  you,  Megadorus. 

Meg,    You're  looking  very  well  indeed. 

Eucl.  [Aside.]  It's  not  for  nothing  when  a  rich  man  speaks 
so  pleasantly  to  a  poor  man.  The  fellow  knows  already 
that  I've  got  gold;  that's  the  reason  for  his  kind  "Good 
morning." 

Meg.    You  are  well,  aren't  you  ? 

Eucl.    Not  very,  in  money  matters. 

Meg.  If  you  look  at  the  matter  fairly,  you  have  enough  to 
live  comfortably  on. 

Eucl.  [Aside.]  The  old  woman  has  certainly  told  him 
about  the  gold  :  it's  as  plain  as  day.  I'm  going  right  in 
and  cut  off  her  tongue  and  dig  out  her  eyes. 

Meg.   What  are  you  saying  to  yourself  ? 

Eucl.  Complaining  of  my  poverty.  I  have  a  grown-up 
daughter  who  has  no  dowry ;  I  can't  marry  her  to  any  one. 

Meg.  Hush  !  Take  heart,  Euclio.  You'll  marry  her  off; 
I'll  help  you  out;  command  me  if  you  need  anything. 

EucL  [Aside.]  His  promising  amounts  to  begging.  He 
has  his  mouth  wide  open  for  the  gold.  In  one  hand  he  has 
a  stone  while  with  the  other  he  offers  bread.  I've  no  con- 
fidence in  a  rich  man  who  talks  pleasantly  to  a  poor  man. 
I  know  your  octopuses  that  hold  on  to  whatever  they  once 
touch. 

Meg.  Listen  a  moment,  if  you  are  at  leisure,  Euclio,  to  a 
request  that  I  want  to  make  of  you  for  our  common  advan- 
tage. 

Eucl.  [Aside.]  Dear  me  !  He's  got  his  hook  in  my  gold  ! 
That's  what  he  wants  to  come  to  terms  with  me  about,  I'm 
sure.  But  I'm  going  in  and  have  a  look.  [Starts  for  his 
house.] 

Mfg.    Where  are  you  going  ? 

Eucl.  I'll  be  back  right  away;  there's  something  I  must 
look  after  in  the  house. 


INTRODUCTION  35 

In  a  moment  he  returns  much  relieved.  Megadorus  now 
succeeds  in  asking  for  the  daughter's  hand  in  marriage,  and 
Euclio  consents,  though  still  full  of  misgivings.  Both 
men  start  to  the  market  to  arrange  for  the  wedding. 
Presently  Megadorus'  slave  Strobilus  brings  the  supplies 
from  the  market.  He  is  accompanied  by  two  hired  cooks, 
Antrax  and  Congrio,  with  their  assistants,  and  two  flute 
girls. 

Str.  When  my  master  had  done  his  marketing  and  hired 
these  cooks  and  flute  girls,  he  told  me  to  divide  the  provisions 
into  two  equal  parts. 

Ant.  As  far  as  I'm  concerned,  I'll  give  you  fair  warning 
you're  not  going  to  divide  me.  If  you  want  to  take  me  some- 
where whole,  I'm  at  your  service. 

Str.  O  now  !  Antrax,  I  didn't  mean  that  at  all ;  but  my 
master  is  going  to  be  married  to-day. 

Ant.    Whose  daughter  is  he  marrying  ? 

Str.  Our  next-door  neighbor  Euclio's  daughter.  And  he 
told  me  to  give  Euclio  half  the  provisions,  and  also  one  cook 
and  one  flute  girl. 

Ant.    You  say  half  goes  here  and  half  to  your  house  ? 

Str.   Yes. 

Ant.  Why !  Couldn't  the  old  gentleman  furnish  his 
daughter's  wedding  dinner  ? 

Str.   Wow! 

Ant.   What's  the  matter  ? 

Str.  What's  the  matter  ?  You  can  squeeze  more  out 
of  pumice  stone  than  out  of  this  old  fellow. 

Ant.   You  don't  say  so  ! 

Cong.   What  a  state  to  be  in  ! 

Str.  Believe  me  !  He  has  lost  his  property,  he's  a  ruined 
man.  Why  !  He  cries  out  for  the  protection  of  gods  and 
men  as  soon  as  any  of  the  smoke  from  his  firewood  gets  out 


36  INTRODUCTION 

of  the  house.     And  when  he  goes  to  sleep  he  ties  a  bag  over 
his  mouth. 

Ant.    Why? 

Str.    So  as  not  to  lose  any  breath  while  he's  asleep. 

So  Congrio,  half  of  the  assistants,  and  one  of  the  flute  girls 
enter  Euclio's  house,  and  Strobilus  conducts  the  others  to 
his  master's  home.  Soon  Euclio  returns  from  the  market. 
He  has  decided  upon  an  economical  wedding,  and  his  pur- 
chases consist  of  a  little  incense  and  some  wreaths  to  offer  to 
the  Lar.  At  this  moment  Congrio  appears  at  the  door  and 
sends  one  of  his  assistants  next  door  to  borrow  a  "  bigger  pot." 
The  word  "pot"  is  a  red  rag  to  Euclio.  He  rushes  into  the 
house  and  drives  everybody  out  with  blows  of  his  cudgel. 
When  the  house  is  clear  he  digs  up  the  pot  of  gold,  and  brings 
it  out  concealed  under  his  cloak.  Then  he  sends  the  cook 
and  his  retinue  back  to  their  tasks.  He  soliloquizes: 

Ye  gods,  it's  a  risky  business  when  a  poor  man  begins  to 
have  dealings  with  a  rich  man.  Just  see  how  Megadorus  is 
coming  after  me  in  every  way.  He  pretended  he  was  sending 
these  cooks  as  a  compliment  to  me ;  but  he  really  sent  them 
to  steal  this  gold.  And  quite  as  bad  as  he  is  that  old  rooster 
of  mine;  for  he  came  the  nearest  kind  to  ruining  me.  Just 
where  this  pot  was  buried  he  began  scratch-scratching  all 
around  with  his  claws.  To  make  a  long  story  short,  he  com- 
-pletely  soured  me.  I  seized  a  club  and  slew  that  cock,  a 
thief  taken  in  the  very  act.  I've  a  notion  the  cooks  had 
promised  him  a  reward  if  he  disclosed  the  treasure. 

When  Euclio  next  meets  Megadorus  he  assails  him  : 

You've  filled  every  corner  of  my  house  full  of  thieves. 
You've  sent  me  five  hundred  cooks  with  six  hands  apiece 
like  Geryon.  If  Argus,  who  was  all  eyes,  should  watch  'em, 
he'd  never  keep  track  of  'em  ;  and  besides,  a  flute  girl  who  all 


INTRODUCTION  37 

alone  can  drink  down  the  spring  of  Pirene  —  if  it  should  flow 
wine. 

Meg.  I  sent  provisions  too.  There's  enough  for  a  whole 
legion.  I  sent  a  lamb  also. 

Eucl.  That  lamb  is  surely  the  most  careworn1  beast  there 
is  anywhere. 

Meg.    I  want  to  know  what  a  careworn  lamb  is. 

Eucl.  It's  all  skin  and  bones,  it's  so  thin  from  anxiety. 
Why  !  If  you  put  it  in  the  sun,  you  can  examine  its  entrails 
without  killing  it ;  it's  as  transparent  as  a  horn  lantern. 

Meg.    I  arranged  to  have  it  killed  for  you. 

Eucl.  Then  you'd  better  arrange  to  have  it  buried ;  for 
I  think  it's  dead  already. 

Euclio  hides  his  treasure  in  the  temple  of  Fides,  but  is 
immediately  assailed  by  new  worries,  and  carries  the  precious 
pot  away  to  the  sacred  grove  of  Silvanus.  The  slave  Strobi- 
lus,  who  has  learned  his  secret,  follows  him,  and  presently 
returns  with  the  treasure. 

We  do  not  know  what  finally  became  of  the  pot  of  gold, 
since  the  end  of  the  play  is  lost.  We  do  learn,  however,  that 
Euclio's  pious  daughter  found  a  more  suitable  husband  in 
Megadorus'  young  nephew,  Luconides. 

9.  Culture  increased  rapidly  at  Rome  during  the  second 
and  third  centuries  B.C.  Soon  it  was  found  possible  to  pre- 
sent Greek  plays  more  nearly  in  their  original  form.  The 
poets,  too,  came  to  appreciate  more  fully  the  excellencies  of 
their  models  and  were  therefore  unwilling  to  disfigure  them 
with  ill-timed  jests. 

The  tendency  toward  an  exact  reproduction  of  the  Greek 
originals  was  carried  to  an  extreme  by  a  group  of  writers 

1  As  Professor  Prescott  has  shown,  CP.  2.  335  f.,  there  is  more  than  this  in 
the  Latin ;  but  this  is  all  the  average  Roman  hearer  could  get  out  of  it. 


38  INTRODUCTION 

headed  by  Luscius  Lanuvinus,  who  flourished  shortly  before 
165  B.C.  These  men  would  have  nothing  but  literal  trans- 
lations, no  matter  how  grotesque  or  obscure.  They  cared 
more  for  faithfully  reproducing  their  authors  than  for  turning 
out  effective  plays. 

TERENCE 

10.  Terence,  who  began  his  writing  at  this  time,  revolted 
against  so  inartistic  an  ideal,  and  appealed  to  the  freedom  of 

/  adaptation  which  had  been  practiced  by  Plautus  and  the 
\j/  other  famous  comic  poets  of  the  past.  He  did  not,  however, 
revert  to  the  unrestrained  license  of  Plautus.  He  altered 
freely  wherever  he  felt  that  the  Greek  dialogue  was  inappro- 
priate for  the  Roman  stage,  but  he  carefully  preserved  the 
Greek  atmosphere  and  the  Greek  setting.  The  coins  and 
magistrates  mentioned  by  him  are  almost  always  Greek ; 
we  are  no  longer  called  upon  to  naturalize  a  Lar  familiar  is  in 
Athens. 

In  those  aspects  of  their  work  which  were  necessarily 
original,  their  language  and  style,  the  difference  between 
Plautus  and  Terence  is  quite  as  wide.  The  earlier  poet  was 
fond  of  the  exaggerated  slang,  personal  abuse,  ingenious 
oaths,  and  brazen  obscenity  everywhere  to  be  found  in  the 
language  of  the  lowest  strata  of  society.  Terence,  too, 
employs  colloquial  Latin,  but  his  characters  usually  speak 
as  gentlemen  might.  Even  his  slaves  are  guilty  of  no  such 
linguistic  excesses  as  abound  in  Plautus. 

11.  If,  however,  one  has  read  only  the  formal  Latin  of 
Caesar,  Cicero's  Orations,  Vergil,  Livy,  and  Horace's  Odes, 
the  novel  and  striking  feature  of  Terence's    language    and 
style  will  be  precisely  their  colloquial  coloring.    This  appears 
most  clearly  in  the  brevity  of  the  sentences  and  their  lack  of 
periodic    structure  —  the    language    is    not    "bookish."     A 


INTRODUCTION  39 

number  of  the  less  obvious  features  of  informal  Latin  will  be 
pointed  out  in  the  notes. 

12.  Still,  the  reader  must  not  ascribe  all  differences  from 
Ciceronian    Latin   to   the   colloquial    style.     Terence   wrote 
about  a  century  earlier  than  Cicero,  and  used  a  number  of 
forms  and  constructions  which  either  went  out  of  use  entirely 
or  became  rare  by  Cicero's  time.     Peculiarities  of  early  Latin 
will  also  be  discussed  in  the  notes. 

13.  Our  knowledge  of  Terence's  life  is  based  chiefly  upon 
the  prologues  to  the  plays,  and  a  biography  by  Suetonius, 
a  scholar  of  the  second  century  A.D. 

It  was  the  custom  in  Terence's  day  to  precede  the  per- 
formance of  a  comedy  with  the  delivery  of  a  prologue  which 
gave  the  audience  such  information  as  is  now  conveyed  by  the 
printed  program  :  the  name  of  the  Greek  play  from  which  it 
was  taken,  the  name  of  the  Greek  author,  the  name  of  the 
Roman  poet  who  had  composed  the  play,  a  statement  of 
where  the  scene  was  laid,  and,  in  some  cases,  an  outline  of  the 
plot.  Sometimes,  too,  a  prologue  contained  criticism  of 
rival  poets,  or  a  defense  of  the  author  against  such  criticism. 
Terence  saw  that  this  information,  so  far  as  it  was  necessary 
and  was  not  given  in  the  formal  announcement  of  the  play 
just  before  the  performance,  could  and  should  be  conveyed  in 
the  dialogue  of  the  play  itself,  and  he  did  not  prefix  any  pro- 
logue at  all  to  his  first  two  plays  at  their  first  performance. 
His  rivals,  however,  attacked  him  so  fiercely  that  he  found  it 
necessary  to  defend  himself,  and  no  other  means  seemed  so 
effective  as  the  prologue.  Seven  of  these  prologues  have  been 
preserved,  two  for  the  Hecyra  and  one  for  each  of  the  other 
plays ;  they  give  us  much  valuable  information  about  the 
history  of  the  Roman  stage,  and  in  particular  about  our 
author's  artistic  ideals  and  methods. 


40  INTRODUCTION 

/• 

14.    The  biography  by  Suetonius  follows: 

C.   SUETONI  TRANQUILLI 
Y  VITA  TERENTI 

I.  P.  Terentius  Afer  Carthagine  natus  servivit  Romae  Terentio 
Lucano  senatori,  a  quo  ob  ingenium  et  formam  non  institutus 
modo  liberaliter,  sed  et  mature  manu  missus  est.  Quidam  cap- 
turn  esse  existimant.  Quod  fieri  nullo  modo  potuisse  Fenestella 
docet,  cum  inter  finem  secundi  Punici  belli  et  initium  tertii  et  « 
natus  sit  et  mortuus;  nee,  si  a  Numidis  vel  Gaetulis  captus  sit, 
ad  ducem  Romanum  pervenire  potuisse,  nullo  commercio  inter 
Italicos  et  Afros  nisi  post  deletam  Carthaginem  coepto. 


x.  P.  Terentius  Afer:  while 
Terence  was  a  slave,  he  seems 
to  have  been  called  Afer,  "  the 
African,"  in  allusion  to  his 
nationality.  When  he  was  set 
free,  he  took,  according  to  the 
usual  practice,  the  praenomen 
and  the  nomen  of  his  former 
master  and  kept  his  slave  name 
as  a  cognomen.  The  name  Afer 
proves  that  Terence  was  not 
really  a  Carthaginian,  although 
he  was  born  in  Carthage;  for 
in  that  case  he  would  have 
been  called  Poenus  or  Poenulus. 
Neither  was  he  a  negro,  as  some 
Afro-Americans  have  main- 
tained ;  the  word  Afer  applies 
properly  to  a  member  of  one  of 
the  native  North  African  tribes, 
most  of  which  were  subject  to 
the  Carthaginians.  Very  likely 
he  was  born  a  slave,  and  came 


into  the  possession  of  his  Roman 
master  by  purchase  or  gift. 
Carthagine :    locative. 

2.  institutus :    "  educated." 

3.  manu  missus  est :  consult 
the  dictionary  under  manumitto. 

captum  esse  :    i.e.,  in  war. 

4.  Fenestella    wrote,     during 
the    reign    of  Tiberius,    a  work 
called  Annales.     It  has  been  lost, 
but  the  rather  numerous  quota- 
tions from  it  by  later  authors  indi- 
cate that  Fenestella  paid  especial 
attention    to    antiquarian    curi- 
osities     and      literary     history. 
The  deductions  quoted  from  him 
here  and  in  the  next  section  dis- 
play the  best  type  of  scholarship. 

8.  deletam  :  the  participle  car- 
ries the  most  important  idea  of 
the  phrase,  as  in  the  title  of 
Livy's  history,  Ab  Urbe  Condita. 

coepto  goes  with  commercio. 


INTRODUCTION 


2.  Hie  cum  multis  nobilibus  familiariter  vixit,  sed  maxime  cum 
Scipione  Africano  et  C.  Laelio,  quibus  etiam  corporis  gratia  con- 
ciliatus  existimatur.  Quod  et  ipsum  Fenestella  arguit  contendens 
utroque  maiorem  natu  fuisse,  quamvis  et  Nepos  aequales  omnes 
fuisse  tradat  et  Porcius  suspicionem  de  consuetudine  per  haec  5 
faciat : 


2.  Scipione  Africano :  the 
younger  Africanus,  the  con- 
queror of  Carthage,  born  185  or 
184  B.C.  He  was  the  center  of 
a  band  of  literary  men  who 
encouraged  the  newly  intro- 
duced Hellenic  culture  at  Rome. 
It  is  sometimes  stated  that 
Terence  drew  much  of  his  inspi- 
ration from  this  "  Scipionic 
Circle,"  but  it  is  not  likely  that 
Scipio  had  gathered  many  prom- 
inent men  about  him  at  the  time 
when  Terence  began  writing; 
for  Scipio  was  then  not  more 
than  seventeen  years  old  (see 
onCaecilio,  §3,  and  nondum  .  .  . 
annum,  §  5). 

C.  Laelio :  Gaius  Laelius 
Sapiens,  the  younger,  born  186 
B.C.  He  and  Africanus  are  the 
young  men  with  whom  Cicero 
makes  Cato  discuss  old  age  in 
the  De  Senectute.  Their  friend- 
ship is  commemorated  in  the 
same  author's  De  Amicitia. 

corporis  gratia :  "  by  the 
charm  of  his  person."  Love 
affairs  with  boys  were  scarcely 
considered  shameful  among  the 


Greeks.       Roman    feeling    was 
nearer  our  own. 

conciliatus :  "  endeared." 

3.  et   ipsum    literally   means 
"  itself  also,"  but  comes  to  be 
little  more    than    a    variant  of 
quoque.     The  idiom  is  common 
in  Livy  and  later  prose. 

arguit :  "  confutes."  In  this 
case,  as  in  the  other,  Fenestella 
was  certainly  right;  see  on 
nondum  .  .  .  annum  (§5). 

4.  Nepos :    Cornelius    Nepos, 
a  friend  of  Cicero  and  Catullus, 
a  rather  careless  and  inaccurate 
biographer.     From     his     works 
twenty-five     brief     biographies 
have  come  down  to  us. 

aequales  :  "  of  the  same  age." 
As  a  matter  of  fact,  Terence  was 
about  ten  years  older  than  Scipio 
and  Laelius  (see  §  5). 

5.  Porcius :    Porcius   Licinus, 
in  the  first  century  B.C.,  wrote 
in  verse    a    history    of    Roman 
literature.    This  is  not  the  only 
chronological     mistake     to     be 
found    in   the  few  extant   frag- 
ments of  his  work. 

consuetudine :   "  intimacy." 


42  INTRODUCTION 

Dum  lasciviam  nobilium  et  laudes  fucosas  petit, 

Dum  African!  vocem  divinam  inhiat  avidis  auribus, 

Dum  ad  Philum  se  cenitare  et  Laelium  pulchrum  putat, 

Dum  in  Albanum  crebro  rapitur  6b  florem  aetatis  suae, 

Suis  postlatis  rebus  ad  summam  inopiam  redactus  est. 

Itaque  ex  conspectu  omnium  ubi  abit  Graeciae  in  terrain  ultimam, 

Mortuust  Stymphali,  Arcadiae  in  oppido.     Nil  Publio 

Scipio  turn  profuit,  nil  Laehus,  nil  Furius, 

Tres  per  id  tempus  qui  agitabant  nobiles  facillime; 

Eorum  ille  opera  ne  domum  quidem  habuit  conducticiam, 

Saltern  ut  esset  quo  referret  obitum  domini  servulus. 

3.    Scripsit    comoedias    sex,    ex    quibus    primam    Andriam    cum 
aedilibus  daret,   iussus  ante  Caecilio  recitare,   ad   cenantem  cum 


1.  dum  lasciviam,    etc. :     the 
verses    are    trochaic    septenam, 
on  which  see  Introduction  25. 

2.  dum     Africani :      for     the 
scansion,  see  Introduction  20. 

3.  ad,  "  at  the  house  of,"  gov- 
erns both  Philum  and  Laelium. 

Philum :  L.  Furius  Philus, 
consul  in  136  B.C. 

pulchrum  is  a  predicate  adjec- 
tive; the  subject  of  the  clause 
in  indirect  discourse  is  se  ceni- 
tare. 

4.  Albanum  :    cf.  Cicero's  use 
of     Tusculanum    for    "  country 
house    at    Tusculum,"    Arpinas 
for    "  country    house    at    Arpi- 
num,"  etc. 

florem  aetatis  :  "  youthful 
beauty."  Cf.  corporis  gratia 
above. 

5.  postlatis :   post/ero   strictly 


means  "  esteem  (one  thing)  less 
than  (another)  " ;  but  since  the 
second  term  of  the  comparison 
is  here  omitted,  we  may  trans- 
late freely  "  neglect." 

7.  in  oppido :  the  phrase  is 
in  apposition  with  the  locative 
Stymphali. 

Publio :    sc.  Terentio. 

9.  agitabant  facillime :  "  lived 
in  the  greatest  affluence."     The 
full     phrase     is     vitam     (aevum, 
dies,  etc.)  agitare. 

10.  eorum :  for   the  prosody, 
see  Introduction  19  end. 

opera :    ablative  singular. 

n.  quo  :"  whither  ";  its  ante- 
cedent is  the  subject  of  esset: 
"  that  there  might  be  (a  place) 
whither." 

referret :    "  bring  news  of." 

13.    aedilibus  :    the  curule  ae- 


43 


venisset,  dicitur  initium  quidem  fabulae,  quod  erat  contemptiore 
vcstitu,  subsellio  iuxta  lectulum  residens  legisse,  post  paucos  vero 
versus  mvitatus  ut  accumberet  cenasse  una,  dein  cetera  percucurrisse 
non  sine  magna  Caecilii  admiratione.  Et  hanc  autem  et  quinque 
reliquas  aequaliter  populo  probavit ;  quamvis  Volcatius  in  dinume- 
ratione  omnium  ita  scribat : 

Sumetur  Hecyra  sexta,  exilis  fabula. 

Eunuchus  quidem  bis  die  acta  est  meruitque  pretium,  quantum 
nulla  antea  cuiusquam  comoedia,  id  est  octo  milia  nummorum; 


diles,  ascuratores  ludorum  solem- 
niitm,  purchased  plays  and  had 
them  presented  at  certain  pub- 
lic festivals. 

ante  =  antea;  i.e.,  before 
they  would  decide  whether  or 
not  to  purchase  the  play. 

Caecilio :  Caecilius  Statius 
was  the  leading  comic  poet  of 
the  generation  between  Plautus 
and  Terence.  His  plays  have 
been  lost  except  for  a  few  lines 
that  are  quoted  by  later  authors. 
He  died  168  B.C.  For  some 
unknown  reason  the  Andria 
was  not  produced  for  sixteen 
months  or  more  after  this 
interview. 

ad  :  "  to  the  house  of  "  ;  cf. 
on  ad  (§  2).  With  cenantem 
sc.  eum  =  Caecilium. 

i.   fabulae  :   "  play." 

3.  percucurrisse :  "went 
through,"    i.e.,    "  read." 

4.  Caecilii :    subjective   geni- 
tive. 


autem  means  "  and,  and  in- 
deed," as  it  frequently  does. 

5.  Volcatius :  Volcatius  Sedi- 
gitus,  a  scholar  of  uncertain  date, 
wrote  a  work  called  De  Poetis. 
The  passages  cited  from  it  are 
in  iambic  senarii  (see  Introduc- 
tion 17). 

dinumeratione :  as  Volcatius 
is  known  to  have  drawn  up  a 
list  of  the  comic  poets  ar- 
ranged in  the  order  of  their 
merit  (see  on  Naevio,  etc.,  §  7), 
it  is  not  surprising  that  this 
list  of  Terence's  plays  was  so 
arranged. 

7.  sumetur  sexta :  "  shall  be 
chosen    for   sixth    place."     The 
reason  for    putting  the  Hecyra 
last  is  given  at  the  end  of  the 
verse. 

8.  Eunuchus :       another      of 
Terence's  plays.     The  title  of  a 
play  (fabula}  is  regularly  treated 
as  feminine. 

9.  nummorum  =  sestertium. 


44 


INTRODUCTION 


propterea    summa    quoque    titulo    ascribitur.    .    .    .     Nam    Adel- 
phorum  principium  Varro  etiam  praefert  principio  Menandri. 

4.  Non  obscura  fama  est  adiutum  Terentium  in  scriptis  a  Laelio 
et  Scipione,  eamque  ipse  auxit  numquam  nisi  leviter  refutare  cona- 
tus,  ut  in  prologo  Adelphorum  :  s 

Nam  quod  isti  dicunt  malevoli,  homines  nobiles 
Hunc  adiutare  assidueque  una  scribere; 


1.  titulo:    a   strip  of  parch- 
ment attached  to  the  end  of  a 
book  roll    and  containing   such 
information    as    is    given    by    a 
modern  title  page. 

nam  introduces  the  reason 
for  some  statement  that  has 
been  lost  from  our  text. 

Adelphorum :  the  Adelphoe 
was  the  last  play  Terence  pro- 
duced. 

2.  Varro :        M.       Terentius 
Varro,  "  the  most  learned  of  the 
Romans,"    a    contemporary    of 
Cicero.      He     wrote      approxi- 
mately   620     books,    of    which 
three,  De  Re  Rustica,    and   six, 
De  Lingua  Latina,  survive. 

Menandri :  Terence's  Adel- 
phoe is  an  adaptation  of  Menan- 
der's  play  of  the  same  name. 
Menandri  is  briefly  put  for 
Menandri  Adelphorum. 

3.  non  obscura  fama  est,  etc. : 
the  story  was  familiar  in  Sueto- 
nius' day  and  had  been  for  more 
than   a  hundred  years.    Santra, 
however,  as  quoted  below  by  Sue- 
tonius himself,  shows  not  only 


that  the  rumor  was  false,  but  also 
that  the  words  here  cited  from 
Terence  cannot  apply  to  it.  Ap- 
parently a  story  was  started  by 
the  poet's  rivals  that  he  had  been 
helped  in  his  composition  by 
certain  prominent  statesmen  — 
perhaps  those  mentioned  by 
Santra.  Terence  referred  to  the 
story  without  mentioning  names 
and  refused  to  deny  it.  It  was, 
nevertheless,  so  completely  dis- 
believed and  forgotten,  that, 
when  the  scholars  of  a  later 
day  tried  to  interpret  Terence's 
dark  hints,  they  hit  upon  the 
wrong  persons.  See  also  below 
on  pronuntiasse  versus,  etc.,  and 
on  quorum  operam,  etc. 

5.  prologo  Adelphorum  :  lines 
15-21.    They  are  iambic  senarii. 

6.  quod :     "  as    to    the    fact 
that."     Others  regard  this  as  a 
relative  used  exactly  as  quod  two 
lines  below. 

isti  malevoli :  Terence's  rivals, 
in  particular  Luscius  Lanuvinus, 
on  whom  see  Introduction  9. 

7.  hunc :     Terence  speaks  of 


INTRODUCTION 


45 


Quod  ill!  maledictum  vehemens  esse  existimant, 
Earn  laudem  hie  ducit  maximam,  quom  illis  placet, 
Qui  vobis  utiiversis  et  populo  placent, 
Quorum  opera  in  bello,  in  otio,  in  negotio 
Suo  quisque  tempore  usust  sine  superbia. 

Videtur  autem  levius  se  defendisse,  quia  sciebat  et  Laelio  et  Scipioni 
non  ingratam  esse  hanc  opinionem ;  quae  turn  magis  et  usque  ad 
posteriora  tempora  valuit.  C.  Memmius  in  oratione  pro  se  ait, 
'P.  Africanus,  qui  a  Terentio  personam  mutuatus,  quae  domi 


himself  in  the  third   person  in 
his  prologues. 

1.  quod:    the    antecedent    is 
earn  in  the  next  line.     Each  pro- 
noun    agrees     in     gender     and 
number  with  its  predicate  noun. 

illi :    i.e.,  isti  malevoli. 

2.  quom     illis     placet     is     a 
clause  of  fact,  with  quom,  "that," 
where     classical     Latin     would 
use  quod;   see  H.  &  B.  553  ;    cf. 
L.   &   M.   860.     Most   scholars 
regard   quom   as   causal   in   this 
use. 

4.  opera:     ablative    singular 
with  usust. 

5.  suo  tempore  :   "  at  his  con- 
venience " ;     i.e.,    whenever     it 
has  seemed  best. 

usust  =  usus  est.  For  the 
form,  see  on  dictust  (Andria  102). 

sine  superbia  :  "  without  dis- 
dain " ;  i.e.,  "  since  you  have 
not  been  above  using  their 
assistance,  why  should  I  be  ?  "  l 


6.  Laelio  et  Scipioni :  as  we 
have  just  shown,  these  were 
not  the  names  that  Terence  had 
in  mind. 

8.  C.     Memmius :     a     shifty 
politician      of      Cicero's      day. 
When     he     was     governor     of 
Bithynia,  the  poet  Catullus  was 
a  member  of  his  staff.     Although 
Memmius    certainly    had    little 
sympathy   with  Epicurean  phi- 
losophy and   was   interested   in 
Greek  rather  than  Latin  litera- 
ture, Lucretius  dedicated  to  him 
his      philosophical      poem,     De 
Rerum  Natura. 

9.  personam :    "  mask."     Al- 
though masks  were  not  worn  by 
Roman  actors  in  Terence's  time, 
they  were   usual   in   Memmius' 
day,  and  had  always  been  worn 
by  Greek    actors.     Here  "  bor- 
rowed   a    mask "    is    a    figura- 
tive   way    of    saying     "  wrote 
plays    under    another's    name." 


1  Otherwise  Knapp,  CR.  21.  45. 


46 


INTRODUCTION 


luserat  ipse,  nomine  illius  in  scaenam  detulit.'  Nepos  auctore  certo 
comperisse  se  ait  C.  Laehum  quondam  in  Puteolano  kalendis  Martns 
admonitum  ab  uxore,  temperius  ut  discumberet,  petisse  ab  ea  ne 
interpellaretur,  seroque  tandem  ingressum  triclinium  dixisse  non 
saepe  in  scribendo  magis  sibi  successisse;  deinde  rogatum  ut  5 
scripta  ilia  proferret,  pronuntiasse  versus  qui  sunt  in  Heautontimo- 
rumeno : 

Satis  pol  proterve  me  Syri  promissa  hue  induxerunt. 

Santra   Terentium    existimat,    si    modo    in    scribendo    adiutoribus 
indiguerit,  non  tarn  Scipione  et  Laelio  uti  potuisse,  qui  tune  adules-  10 
centuli    fuerint,   quam   C.   Sulpicio    Gallo,   homine   docto   et    quo 
consule  Megalensibus  ludis  initium  fabularum  dandarum   fecerit, 


1.  luserat:  ludo  is  often  used 
(transitively)  of  composing  the 
lighter  forms  of  poetry. 

2.  Puteolano :    for  the  mean- 
ing, see  on  Albanum  (§  2). 

kalendis  Martiis :  on  this 
day  the  Matronalia  were  cele- 
brated, and  therefore  partic- 
ular respect  would  be  paid  to 
the  ladies  of  the  family. 

3.  temperius  :        "  somewhat 
earlier  than  usual." 

5.  successisse  is  impersonal, 
as  is  successit  in  Andria  670. 

6.  pronuntiasse  versus,  etc. : 
if  Nepos  has   his  facts  straight 
(see  on    Nepos,  §  2),  one    may 
conjecture  that  Laelius'  quota- 
tion   from    Terence   was    really 
a   jesting   refusal    to   recite   his 
own     composition.     It     is     not 
hard  to  see  how  Syri  promissa 
might  be  made  to  refer  to  the 
entertainment  which  Laelius  had 


expected   to  find  in  the  dining 
room. 

8.  satis  pol,  etc. :  line  723  of 
Terence's    Heautontimorumenos. 
It  is  an  iambic  septenarius  (see 
Introduction  23). 

9.  Santra  was  a  scholar  who 
lived    in    Cicero's    time.     Very 
little  is  known  about  him. 

10.  adulescentuli :  when  Ter- 
ence   produced    his    first    play, 
Laelius   was   twenty   years   old 
and  Scipio  eighteen  or  nineteen. 
The    Adelphoe     was     produced 
six  years  later. 

n.  C.  Sulpicio  Gallo :  consul 
in  166  B.C.,  the  year  in  which  the 
Andria  was  first  produced.  He 
was  interested  in  Greek  as- 
tronomy and  perhaps  in  Greek 
literature. 

12.  Megalensibus  ludis :  the 
ludi  Megalenses,  in  honor  of 
Cybele,  were  celebrated  in  April 


INTRODUCTION 


47 


vel  Q.  Fabio  Labeone  et  M.  Popillio,  consular!  utroque  ac  poeta. 
Ideo  ipsum  non  iuvenes  designate,  qui  se  adiuvare  dicantur,  sed 
virus,  (|iioruin  operam  et  in  bello  et  in  otio  et  in  negotio  populus 
sit  cxpcrtus. 

5.    IVst  editas  sex  comoedias,  nonduin  quintuni  atque  tricesimum  '    5 
egressus  annum,  ammi  causa  seu  vitandae  opinionis,  qua  videbatur 
aliena  pro  suis  edere,  seu  percipiendi  Graecorum  instituta  moresque, 
quos  non  perinde  exprimeret  in  scriptis,  egressus  urbe  est  neque 
amplius  rediit.     De  morte  eius  Volcatius  sic  tradit : 


under  the  direction  of  the  curule 
aediles.  For  the  four  annual 
festivals  at  which  plays  were 
exhibited,  see  Introduction  6. 

1.  Q.  Fabio  Labeone :  consul 
in  183  B.C. 

M.  Popillio :  Marcus  Popil- 
lius  Laenas,  consul  in  173  B.C. 

2.  ipsum  =  Terentium. 

iuvenes  is  the  secondary  ob- 
ject of  designare.  The  primary 
object  is  eos,  to  be  understood 
as  the  antecedent  of  qui. 

3.  quorum    operam,    etc.:     a 
paraphrase  of  the  last  two  lines 
which   Suetonius  quotes    above 
from  the  prologue  to  the  Adel- 
phoe.    Such  words  as  these  would 
not    have     been     applicable    to 
Scipio  and    Laelius  until  about 
ten  years  after  Terence's  death. 

5.  editas :  for  the  use  of  the 
participle,  see  on  dfletam  (§  i). 

nondum  .  .  .  annum :  since 
the  successful  performance  of 


the  Hecyra,  the  one  for  which 
the  longer  prologue  was  written, 
took  place  at  the  ludi  Romani 
in  September,  160  B.C.,  this 
notice  fixes  the  poet's  birth  at 
some  time  between  September, 
195  and  the  latter  part  of  194 
B.C. 

6.  animi   causa :    animus  de- 
notes the  emotional  nature  and 
the  will  rather  than  the  intel- 
lect.    This    phrase  then  means 
"  for    the     sake    of  (satisfying) 
his    wishes "  ;      translate     "  for 
pleasure." 

vitandae  opinionis :  under- 
stand causa  from  the  preceding 
phrase ;  but  see  A.  &  G.  504  a 
Note  i,  B.  339.  6,  Bu.  1008, 
G.  428.  2,  H.  &  B.  616,  H.  626.  5. 

videbatur :   "  was  thought." 

7.  percipiendi :    the  gerund  is 
parallel     with     the     gerundive 
vitandae. 

8.  perinde :  "  so  accurately." 


1  For  the  reading  tricesimum,  see  the  introduction  to  the  Dziatzko-Hauler 
edition  of  the  Phormio  (fourth  edition,  1913)  page  12. 


48 


INTRODUCTION 


Sed  ut  Afer  populo  sex  dedit  comoedias, 
Iter  hinc  in  Asiam  fecit.     In  navem  ut  semel 
Conscendit,  visus  numquam  est :   sic  vita  vacat. 

Q.  Cosconius  redeuntem  e  Graecia  perisse  in  mari  dicit  cum  fabulis 
conversis  a  Menandro.  Ceteri  mortuum  esse  in  Arcadia  Stymphali  5 
sive  Leucadiae  tradunt  Cn.  Cornelio  Dolabella  M.  Fulvio  Nobiliore 
consulibus,  morbo  implicitum  aut  ex  dolore  ac  taedio  amissarum 
sarcinarum,  quas  in  nave  praemiserat,  ac  simul  fabularum,  quas 
novas  fecerat. 

6.  Fuisse  dicitur  mediocri  statura,  gracili  corpore,  colore  fusco.  10 
Reliquit  filiam,  quae  post  equiti  Romano  nupsit;   item  hortulos  XX 
iugerum  via  Appia  ad  Martis.     Quo  magis  miror  Porcium  scribere : 

Scipio  nil  profuit,  nil  Laelius,  nil  Furius, 

Tres  per  id  tempus  qui  agitabant  nobiles  facillime; 

Eorum  ille  opera  ne  domum  quidem  habuit  conducticiam,         15 

Saltern  ut  esset  quo  referret  obitum  domini  servulus. 

7.  Hunc  Afranius  quidem  omnibus  comicis  praefert  scribens  in 
Compitalibus : 


The  standard  of  comparison  is 
omitted,  as  it  often  is  in  English. 

3.  visus  numquam  est :    i.e., 
he  never  returned  to  Rome. 

4.  Q.  Cosconius :   a  gramma- 
rian who  is  quoted  also  by  Varro. 

redeuntem :     sc.    Terentium. 

6.  Cn.  .  .  .  consulibus : 
i.e.,  159  B.C. 

10.    gracili :    "  thin,  slender." 

colore  fusco  :  "  of  dark  com- 
plexion." These  characteristics 
support  the  theory  of  North 
African  rather  than  Cartha- 
ginian descent ;  see  on  P. 
Terentius  Afer  (§  i). 

12.    ad   Martis :   the  omission 


of  aedem  or  templum  in  such 
phrases  is  similar  to  the  omis- 
sion of  the  word  "  house  "  in  our 
familiar  "  at  Smith's,"  etc. 

17.  Afranius :  Lucius  Afra- 
nius, who  flourished  about 
100  B.C.,  wrote  fabulae  togatae, 
i.e.,  comedies  of  Italian  life 
and  manners  in  which  the  char- 
acters wore  Roman  dress  in- 
stead of  the  Greek  costumes 
that  were  seen  on  the  stage  of 
Plautus  and  Terence.  The  play 
here  mentioned  gets  its  name 
from  the  Compitalia  or  "  cross- 
roads festival,"  which  was  cele- 
brated in  December  or  January. 


INTRODUCTION 


49 


Terenti  num  similem  dicetis  quempiam  ? 

Volcatius  autem  non  solum  Naevio  et  Plauto  et  Caecilio,  sed 
Licinio  quoque  et  Atilio  postponit.  Cicero  in  Limone  hactenus 
laudat : 

Tu  quoque,  qui  solus  lecto  sermone,  Terenti, 
Conversum  expressumque  Latma  voce  Menandrum 
In  medium  nobis  sedatis  motibus  effers, 
Quiddam  come  loquens  atque  omnia  dulcia  dicens    .  .  . 

Item  C.  Caesar : 

Tu  quoque,  tu  in  summis,  o  dimidiate  Menander, 
Poneris,  et  merito,  puri  sermonis  amator. 
Lenibus  atque  utinam  scrjptis  adiuncta  foret  vis 


1.  Terenti    num,     etc. :     the 
verse  is  an  iambic  senarius.     Te- 
renti depends  upon  similem. 

2.  Naevio,  etc. :  Aulus  Gellius, 
15.    24,    quotes   the   passage   in 
full.     In    it    the    comic    poets 
are    arranged    in    the    order   of 
their  merit  as    follows :    Caeci- 
lius,  Plautus,  Naevius,  Licinius, 
Atilius,  Terence,  Turpilius,  Tra- 
bea,  Luscius,  Ennius. 

3.  Limone :        i.e.,       AetnAv, 
"  meadow."      It  was  a  literary 
criticism  in  verse,  which  has  not 
been  preserved. 

5.  tu  quoque,  etc . :  these 
verses  and  those  quoted  from 
Caesar  are  hexameters. 

7.  in  medium  nobis  effers : 
properly,  "  you  bring  out  into 
our  midst  "  ;  translate  "  you 
produce  among  us." 

TER.    ANDRIA 4 


sedatis  motibus :  Latin  plays 
are  technically  classed  as  sta- 
tariae,  "  quiet,  with  little  ac- 
tion," and  motoriae,  "  full  of 
action."  Terence  seems  to 
have  modified  Menander  in  the 
direction  of  the  former  type. 
Translate  "  with  less  action." 

8.    come  :   "  genial." 

10.  in  summis  :  "  in  the  first 
rank." 

12.  atque.  is  virtually  equiva- 
lent to  atqui,  as  in  Andria  22$. 

vis  comica :  the  meaning 
of  the  phrase  is  not  clear.  It 
cannot  refer  to  the  boisterous 
fun  which  was  Plautus'  chief 
stock  in  trade;  for  the  com- 
parison here  is  with  Menander 
who,  like  Terence,  prefers  humor 
to  horseplay.  Perhaps  Caesar 
was  thinking  of  the  marvelous 


50  INTRODUCTION 

Comica,  ut  aequato  virtus  polleret  honore 
Cum  Graecis  neve  hac  despectus  parte  iaceres  ! 
Unum  hoc  maceror  nc  doleo  tibi  desse,  I  erenti. 


THE   ANDRIA 

15.  The  Andria  was  the  first  play  which  Terence  pro- 
duced —  the  one  he  read  to  Caecilius  at  dinner,  thereby 
gaining  that  poet's  esteem  (see  §  3  of  Suetonius'  Life  of 
Terence,  p.  42  above).  It  was  in  the  main  a  translation  of 
the  Andria  of  Menander.  The  latter  play,  however,  seems  to 
have  been  virtually  a  second  recension  of  the  Perinthia, 
which  Menander  had  written  early  in  his  career ;  and  Terence 
preferred  to  follow  the  earlier  piece  at  some  points.  One  of 
these  places,  the  ancient  commentator  Donatus  tells  us,  was 
the  first  act,  which  in  Menander's  Andria  consisted  of  a 
monologue  by  the  old  man,  while  'in  the  Perinthia  he  was 
represented  as  talking  to  his  wife.  Terence  substituted  a 
freedman  as  the  second  character  in  the  dialogue.  Donatus 
further  tells  us  that  the  characters  Carinus  and  Burria  did 
not  appear  in  Menander's  Andria,  and  it  has  been  plausibly 
suggested  that  Terence  got  them  from  the  Perinthia. 

This  practice  of  combining  two  Greek  plays  to  make  one 
Latin  play,  named  contaminatio  by  the  Romans,  was  severely 
criticized  by  Luscius  Lanuvinus  and  his  school  —  chiefly,  it 
seems,  because  it  hastened  the  day  when  there  would  be  no 
more  Greek  plays  to  translate.  One  might  suppose  that  a 
more  valid  criticism  would  be  that  a  patchwork  play  would 
be  likely  to  lack  coherence.  No  such  objection,  however, 
can  be  urged  against  the  Andria  or  any  other  of  Terence's 
plays. 

clearness  of  outline  and  vivid-  discovered  fragments  of  the 
ness  of  characterization  which  Greek  poet  (see  Introduc- 
we  can  observe  in  the  newly  tion  5). 


INTRODUCTION  51 

METER   AND   PROSODY 

1 6.  The  basic  foot  of  the  majority  of  Terence's  verses  is 
the  iambus  (^— ).  The  long  syllable  may  be  resolved  into 
two  shorts  with  the  ictus1  upon  the  first  of  them,  thus  giving 
the  tribrach  (w  6  ^)  with  the  ictus  on  the  second  syllable.  For 
the  iambus  may  be  substituted  the  spondee  (— — )  with  the 
ictus  on  the  second  syllable.2  Either  or  both  of  the  syllables 
of  the  spondee  may  be  resolved  into  two  shorts,  and,  as  in  the 
case  of  the  iambus,  if  the  ictus  syllable  is  resolved,  the  ictus 
falls  upon  the  first  of  the  resulting  shorts.  Hence  we  find  the 
anapaest  (^  ^  — ),  the  dactyl  (— ^  w),  and  the  proceleusmatic 
(^  w  w  w).  Terence  employs,  then,  in  iambic  verses  these 
six  kinds  of  feet : 

iambus  ^  — 
tribrach   w  6  vy 
spondee  — — 
anapaest  ww^l 
dactyl  —  ^  ^ 
proceleusmatic   ^  w  w  w 

In  view  of  the  difficulty  of  reading  rapidly  verses  which  allow 
so  much  variation,  each  ictus  is  marked  in  this  edition  except 
in  cases  where  it  falls  upon  the  final  syllable  of  the  verse.3 

1  The  word  "  ictus  "  denotes  the  beat  used  in  marking  time.     The  editor 
assumes    that    the    syllable   which    the    ictus    accompanied   was    accented 
whether  it  would  have  been  accented  in  prose  or  not. 

2  Such  a  spondee  must  be  pronounced  with  each  of  its  two  S3'llables  about 
three    fourths    as    long    as    an   ordinary    long   syllable,    so    as    to    occupy 
approximately  the  time  of  an  iambus.     Similarly,  each  of  the  syllables  of 
a  dactyl,  an  anapaest,  and  a  proceleusmatic  must  be  slightly  shortened  in 
iambic  and  trochaic  verse.     Such  feet  are  said  to  be  irrational. 

3  To  mark  the  ictus  of  an  iambic  close  seems  quite  useless,  and  it  would 
encourage  a  heavy  stressing  of  the  final  syllable,  a  pronunciation  as  foreign 
to  the  Latin  language  as  it  is  to  English. 


52  INTRODUCTION 

17.  The  most  common   verse   in    Terence  is  the  iambic 
senarius  (from  seni,  "six  apiece"),  which  contains  six  feet. 
The  last  of  these  must  be  an  iambus,  but,  since  the  final 
syllable  of  a  Latin  verse  may  be  either  long  or  short  (syllaba 
anceps),  the  pyrrhic  (^^)  may  take  the  place  of  the  iambus  in 
this  one  position.     Many  iambic  senarii,  but  not  all  of  them, 
have  a  caesura  before  the  ictus  syllable  of  the  third  or  fourth 
foot.     The  first  line  of  the  Andria  (numbered  28)  is  to  be 
scanned  thus : 

Vos  istaec  intro  auferte ;   abite.     Sosia, 

—  Z.\—±\       _^|       w^l|w      ^Iw6 

To  illustrate  the  proceleusmatic,  we  may  analyze  line  118: 
Quae  ibi  aderant,  forte  unam  aspicio  adulescentulam, 

w     6v,|_        ^|       _  ^|v^6wl_^|^6 

1 8.  It  will  be  observed  that  in  line  28  each  ictus  except 
the  last  falls  upon  a  syllable  that  has  a  word  accent.     The 
early  poets  preserve,  to  a  very  great  extent,  harmony  between 
verse  ictus   and   the   accent  of  ordinary  speech.     In   many 
cases  where  the  two  seem  to  clash,  it  is  because  the  accent 
of  the  Latin  sentence  differed   considerably  from  the  word 
accent  which  is  described  in  our  grammars.     Thus  line  29 
runs : 

Ades  dum  ;   paucis  te  volo.     Dictum  puta  : 

Here  dum  is  an  enclitic  and  has  the  same  effect  upon  the 
accent  as  -que.  Similarly,  te  volo  is  regularly  accented  on  the 
antepenult  since  the  penult  is  short. 

19.  Latin  words  which  form  an  iambus,  such  as  dmo,  met, 
die,  fere,  are  particularly  hard  for  us  to  pronounce  correctly. 
The  accent  upon  the  initial  short  syllable  makes  it  so  diffi- 
cult to  preserve  the  long  quantity  of  the  final  syllable  that 
we  tend  to  say  dmo,  mei,  etc. 


INTRODUCTION  53 

The  early  Romans  were  subject  to  this  same  tendency,  so 
much  so,  in  fact,  that  certain  originally  iambic  words  had 
their  final  syllables  permanently  shortened.  Ego  was  once 
ego  like  Greek  cyoi;  the  adverbs  bene  and  male  originally 
ended  in  long  e,  as  do  other  adverbs  from  adjectives  of  the 
first  ^nd  second  declensions ;  modo,  the  adverb,  is  really 
the  ablative  singular  of  modus;  the  datives  mihi,  tibi,  sibi, 
and  the  adverbs  ibi  and  ubt,  originally  had  a  long  final  syl- 
lable, a  pronunciation  which  was  frequently  employed  by 
Vergil  and  other  classical  poets,  but  which  in  their  day  may 
no  longer  have  been  heard  in  ordinary  speech. 

In  the  time  of  Plautus  and  Terence  the  tendency  to  shorten 
a  long  syllable  after  a  short  was  much  more  widespread  than 
the  traces  of  the  process  in  classical  Latin  would  lead  us  to 
suppose.  Thus,  a  syllable  long  by  position  might  be  short- 
ened (dabit  nemo) ;  the  two  syllables  might  belong  to  different 
words  (et  id  gratum,  ego  In  portu,  sine  invidia),  or  they  might 
form  only  part  of  a  word  (voluptati).  An  accent  following  the 
long  syllable  of  an  iambus  had  the  same  effect  as  one  preced- 
ing it  (voluptati,  pudicitia}.1  The  tendency  of  early  Latin  to 
shorten  long  syllables  may,  then,  be  summed  up  in  these 
two  formulas : 

(a)  6  _  tended  to  become  ^  ^ 

(b)  w_^L  tended  to  become  v^wZ. 

^  w 

The  tendency  was  not  equally  strong  in  all  words.  The 
common  words  which  regularly  show  the  shortening  in  later 
times  (see  above)  appear  usually  to  have  been  pronounced 
with  this  shortening  in  the  early  period,  although,  in  the  case 
of  most  of  them,  there  are  sure  instances  of  the  original  form 
(note  ego,  Andria  258,  702;  modo,  630,  etc.).  Other  words, 
such  as  bonds,  patres,  regularly  retained  the  long  quantity; 

1  See  Lindsay,  The  Captivi  of  Plautus  (London,  1900)  p.  34. 


54  INTRODUCTION 

but  most  words  seem  to  have  varied  freely  between  the  two 
pronunciations.1 

The  early  dramatists  reflect  this  situation  in  their  verse. 
Almost  any  iambic  succession  of  syllables  with  an  accent  next 
to  the  long  syllable  may  be  treated  as  two  short  syllables, 
but  the  frequency  with  which  the  shortened  form  of  each 
word  occurs  reflects  roughly  the  usage  of  ordinary  speech.2 

In  Plautus  and  Terence  there  occur  a  number  of  shortened 
iambi  which  do  not  seem  to  have  a  word  or  sentence  accent  on 
the  syllable  preceding  or  following  the  shortened  syllable, 
and  in  some  of  these  the  shortened  syllable  itself  seems  to  be 
accented.  It  is  possible  that  in  some  cases  our  information 
as  to  early  Latin  accent  is  defective,  but  most  such  irregulari- 
ties are  probably  due  to  the  influence  of  related  words  which 
fulfilled  the  conditions  of  the  change;  tibique  is  due,  then, 
to  tibi,  nescio  (340,  etc.)  to  scio,  ddvenis  (909)  to  vents,  eodem 
(885)  to  eo,  eorum  (64,  etc.)  to  eoriimque  and  eorundem, 
fuisse  (42)  to  such  forms  as  fui,  Jiiissemus,  and  fuistique, 
hoccinest  (236,  etc.)  to  hie  est,  etc. 

Many  scholars  think  that  the  verse  ictus  had  the  same 
tendency  as  the  accent  of  ordinary  speech  to  shorten  the  long 
syllable  of  an  iambus.  It  is  at  least  true  that  a  syllable 
shortened  by  the  iambic  law  rarely  stands  under  the 
ictus.3 

20.  In  general,  Terence  makes  the  same  use  of  elision  as 
the  later  poets.  Hiatus  occurs  after  interjections,  e.g.,  O 
hominem  (769) ;  and  occasionally  at  a  change  of  speakers, 
as  in  line  593. 

1  Some  scholars  would  prefer  to  say  "were  pronounced  with  a  quantity 
intermediate  between  long  and  short." 

2  This  paragraph  and  the  preceding  one  are  not  intended  as  argument. 
For  a   brief  statement  of  the  case,  see  Lindsay,  The  Captivi  of  Plautus, 
PP.  3°  ff. 

3  For  weak  final  j,  see  on  veritus  (582). 


INTRODUCTION  55 

One  kind  of  hiatus,  however,  is  much  more  common  in 
Terence  and  the  other  early  dramatists  than  in  Vergil  and 
his  contemporaries.  Accented  monosyllables  ending  in  a 
long  vowel  or  m  are  not  elided  before  a  short  vowel,  but 
count  as  a  single  short  syllable,  as  qui  amant  (191),  cum  eo 
(639),  etc.  Sometimes  the  syllable  following  such  a  mono- 
syllable is  shortened  by  the  iambic  law,  as  turn  id  mihi  (109). 

21.  While  the  iambic  senarii   (comprising  about  half  of 
each  of  Terence's  plays)  were  spoken  without  musical  accom- 
paniment, all  lines  in  other  meters  were  accompanied  by  the 
flute.     Many  of  them  were  delivered  by  the  actors  in  recita- 
tive style,  but  some  of  the  more  lyrical  passages  were  sung  by 
a  slave  stationed  near  the  flute  player  while  the  actor  per- 
formed in  pantomime. 

22.  The  iambic  octonarius  (from    octoni,  "eight  apiece") 
contains  eight  feet.     The  last  of  these  must  be  an  iambus  or  a 
pyrrhic.     There  is  usually  a  caesura  before  the  ictus  syllable 
of  the  fifth  foot,  or  (less  frequently)  a  diaeresis  at  the  end  of 
the  fourth  foot.     In  the  latter  case  the  fourth  foot  is  often 
an  iambus,  for  which  a  pyrrhic  may  be  substituted  just  as  at 
the  close  of  the  line.      Line   175  of  the  Andria  should  be 
scanned  : 

Mirabar,  hoc  si  sic  abiret,  et  eri  semper  lenitas 

—  ^l_     ^-\—  ^\  w_^|w  ii  6  w|_z.  |_  ^|W^L 

Line  584  shows  a  pyrrhic  in  the  fourth  place  : 

Propterea  quod  amat  filius.     Egon  istuc  facerem?     Credidi, 


23.  The  iambic  septenarius  (from  septeni,  "seven  apiece") 
contains  seven  complete  feet  followed  by  a  single  syllable. 
There  is  usually  a  diaeresis  after  the  fourth  foot,  which  is 
commonly  an  iambus  and  occasionally  a  pyrrhic.  Some- 


56  INTRODUCTION 

times  there  is  a  caesura  in  the  fifth  foot  instead  of  a  diaeresis. 
We  illustrate  with  lines  299  and  705  : 

Sed   cur  tu   abis   ab   ilia  ?     Obstetricem   accerso.     Propera. 
Atque  audin  ? 

Sat  habeo.     Quid  facies  ?     Cedo.     Dies  hie  mi  ut  satis  sit, 

XI  /I  /    I  /  II  /I  /I 

vereor 

x       i 

24.  The  second  group  of  Terence's  verses  is  based  upon 
the  trochee  (— ^).     Resolutions  and  substitutions  follow  the 
same  principles  as  in  iambic  rhythm : 

trochee  — ^ 
tribrach  <jw 
spondee  —  - 
anapaest  6^>— 
dactyl  -^ww 

Observe  that  in  trochaic  rhythm  the  ictus  falls  upon  the  first 
syllable  of  each  foot. 

25.  The  trochaic  septenarius  contains  seven  complete  feet 
followed    by    a    single   syllable   which    has    the    ictus.     The 
seventh   foot   must   be   a  trochee  or  a  tribrach.     Diaeresis 
generally  occurs  after  the  fourth  foot,  but  sometimes  after 
the  fifth.     Lines  178  and  179  are  scanned  thus  : 

Numquam  quoiquam  nostrum  verbum  fecit  neque  id  aegre 
tulit. 

At  nunc  faciet,  neque,  ut  opinor,  sine  tuo,  magno  malo. 


INTRODUCTION  57 

26.  The  trochaic  octonarius  contains  eight  feet.  Diaere- 
sis usually  occurs  after  the  fourth  foot.  This  measure  occurs 
in  only  seven  lines  of  the  Andria.  The  first  is  245  : 

Adeon  hominem  esse  invenustum  aut  infelicem  quemquam, 
ut  ego  sum  ! 


27.  Of  less  importance  are  the  few  short  iambic  and  tro- 
chaic lines.  The  iambic  quaternarius  (from  quaterni,  "four 
apiece")  may  contain  four  full  feet,  as  in  176: 

Verebar  quorsum  evaderet, 

\j+\—       £|         -^6 

or  it  may  be  catalectic  (  i.e.,  lack  the  last  half  foot),  as  in  485  : 
Date ;   mox  ego  hue  revortor. 

/        I         V,        /I 


w  \J  ^— 


The  trochaic  quaternarius  catalectic  contains  three  and  a  half 
feet,  as  in  246  : 

Pro  deum  atque  hominum  fidem  ! 


28.  Terence  rarely  employs  other  rhythms  than  the  iambic 
and  the  trochaic.  The  cretic  tetrameter  usually  consists  of 
four  cretics  (-^-^_).  Either  long  syllable  may  be  resolved 
into  two  shorts,  and  a  long  syllable  or  two  short  syllables  may 
take  the  place  of  the  short  in  the  first  and  third  feet.  Lines 
626  and  629  are  to  be  scanned  thus  : 

Tanta  vecordia  innata  quoiquam  ut  siet, 


Idnest  verum  ?     Immo  id  est  genus  hominum  pessumum,  in 


58  INTRODUCTION 

The  bacchiac  tetrameter  usually  consists  of  four  bacchii 
(^— — ).  Either  or  both  of  the  longs  may  be  resolved  into 
two  shorts,  and  a  long  syllable  may  be  substituted  for  the 
short.  Line  481  is  to  be  scanned  : 

Adhuc,  Arculis,  quae  adsolent  quaeque  oportent 


29.  TABLE  OF  THE   METERS  OF  THE  ANDRIA 


1-174 

iambic  senarii 

301 

trochaic  octonarius 

175 

iambic  octonarius 

302 

trochaic  septenarius 

176 

iambic  quaternarius 

3°3»  304 

iambic  octonarii 

177 

iambic  octonarius 

305 

trochaic  octonarius 

178,  179 

trochaic  septenarii 

306 

trochaic  septenarius 

180,  181 

iambic  octonarii 

307 

trochaic  octonarius 

182 

trochaic  septenarius 

308 

trochaic  septenarius 

I83-I9S 

iambic  octonarii 

309-516 

iambic  octonarii 

196-198 

iambic  senarii 

317 

trochaic  septenarius 

199-214 

iambic  octonarii 

318 

iambic  senarius 

215-224 

iambic  senarii 

319-383 

trochaic  septenarii 

225 

iambic  octonarius 

384-393 

iambic  senarii 

226 

iambic  senarius 

394-403 

iambic  octonarii 

227 

iambic  octonarius 

404-480 

iambic  senarii 

228-233 

trochaic  septenarii 

481-484 

bacchiac  tetrameters 

234-239 

iambic  octonarii 

485 

iambic    quaternarius  cata^ 

240 

iambic  quaternarius 

lectic 

241,  242 

trochaic  septenarii 

486 

iambic  senarius 

243 

iambic  octonarius 

487-505 

iambic  octonarii 

244 

iambic  quaternarius 

506 

iambic  septenarius 

245 

trochaic  octonarius 

507-516 

trochaic  septenarii 

246 

trochaic  quaternarius  cata- 

517 

trochaic  quaternarius  cata- 

lectic 

lectic 

247 

trochaic  octonarius 

518-523 

trochaic  septenarii 

248-251 

trochaic  septenarii 

524-532 

iambic  senarii 

252 

iambic  quaternarius 

533-536 

iambic  octonarii 

253.  254 

iambic  octonarii 

537 

iambic  quaternarius 

255-260 

trochaic  septenarii 

538-574 

iambic  senarii 

261-269 

iambic  octonarii 

575-581 

iambic  septenarii 

270-298 

iambic  senarii 

582-604 

iambic  octonarii 

299,  300 

iambic  septenarii 

605 

iambic  quaternarius 

INTRODUCTION 


59 


6o6 

trochaic  septenarius 

607,  608 

trochaic  octonarii 

609 

trochaic  septenarius 

610-615 

iambic  octonarii 

616 

trochaic  octonarius 

617 

trochaic  septenarius 

618-620 

iambic  octonarii 

621-624 

trochaic  septenarii 

625 

dactylic  tetrameter 

626-634 

cretic  tetrameters 

635-6381 

i  iambic  quaternarii 

639,  640 

trochaic  septenarii 

641,  642 

iambic  octonarii 

643-649 

650-654 

655-681 

682,  683 

684-715 

716-819 

820-860 

861-865- 

866-895 

896-928 

929-957 

958-981 


trochaic  septenarii 
iambic  octonarii 
iambic  senarii 
iambic  octonarii 
iambic  septenarii 
iambic  senarii 
trochaic  septenarii 
iambic  octonarii 
iambic  senarii 
trochaic  septenarii 
iambic  octonarii 
trochaic  septenarii 


TABLE  OF  ABBREVIATIONS 

A.  &  G.  =  Alien  and  Greenough's  New  Latin  Grammar. 

B.  =  Bennett's  Latin  Grammar. 
Bu.  =  Burton's  Latin  Grammar. 

G.  =  Gildersleeve-Lodge  Latin  Grammar. 

H.  &  B.  =  Hale  and  Buck's  Latin  Grammar. 

H.  =  Harkness'  Complete  Latin  Grammar. 

L.  &  M.  =  Lane  and  Morgan's  School  Latin  Grammar. 

A  note  beginning  fere  .  .  .  paucis  is  on  these  words  and  all  that 
stands  between  them  in  the  text,  fere  paucis  introduces  a  note  on 
these  two  words  alone,  fere,  etc.,  heads  a  note  on  fere  and  several 
following  words. 


60 


TERENTI    ANDRIA 


61 


THE  CHARACTERS  OF  THE   PLAY 

IN  THE    ORDER   IN    WHICH   THEY    APPEAR 

SIMO  A  gentleman  of  Athens. 

SOSIA  Simo's  freedman. 

DAVOS  Simo's  slave,  confidential  servant  of  Pampilus. 

Musis  Glucerium  s  maid. 

PAMPILUS  Simo's  son. 

CARINUS  A  young  man,  friend  of  Pampilus. 

BURRIA  Carinus'  slave. 

LESBIA  A  midwife. 

GLUCERIUM  The  girl  from  Andros. 

CREMES  A  gentleman  of  Athens. 

CRITO  A  gentleman  of  Andros. 

DROMO  Simo's  slave. 


CHARACTERS  SPOKEN  OF 

CRUSIS  A  woman  of  Andros,  reputed  sister  of  Glucerium 

PILUMENA  Cremes'  daughter. 

ARCULIS  Glucerium  s  slave  woman. 

CANTARA  Glucerium9 s  slave  woman. 

PAN i A  Cremes'  brother. 


62 


PROLOGUS 


Poeta  quom  primum  animum  ad  scribendum  adpulit, 

Id  sibi  negoti  credidit  solum  dari, 

Populo  ut  placerent  quas  fecisset  fabulas. 

Verum  aliter  evenire  multo  intellegit ; 

Nam  in  prologis  scribundis  operam  abutitur, 


The  Andria  was  first  pre- 
sented without  a  prologue;  for 
Terence  felt  that  literary  criti- 
cism did  not  combine  well 
with  comedies  of  life  and  man- 
ners (see  Introduction  13).  It 
is  of  course  fortunate  for  us 
that  he  was  compelled  to  vio- 
late his  artistic  principles  and 
record  for  all  time  the  informa- 
tion that  is  contained  in  the 
extant  prologues.  The  fact  re- 
mains, however,  that  no  one  of 
them  forms  an  artistic  unity 
with  the  play  to  which  it  is  pre- 
fixed. Nevertheless,  in  defer- 
ence to  custom,  the  prologue 
which  was  written  for  a  revival 
of  the  Andria  is  included  in  this 
edition.  In  the  notes  on  the 
play  itself  no  acquaintance  with 
the  prologue  or  the  commen- 
tary on  it  is  assumed. 

i.  poeta :  Terence  speaks  of 
himself  in  the  third  person  in  the 
prologues,  as  an  English  writer 


often  refers  to  himself  as  "  the 
author."  -—  quom  =  cum.  For 
the  spelling,  see  on  quomque  (63). 

2.  id    negoti  =  id    negotium. 
Negoti  is  a  partitive  genitive. 

3.  fabulas     is     logically    the 
subject    of    placerent    and    the 
antecedent    of   quas,    but    it    is 
incorporated    into    the    relative 
clause ;    "  what   plays  "  instead 
of  "  the  plays  which."' 

4.  multo  :    ablative  of  degree 
of  difference  with  aliter. 

5.  prologis  has  a  long  vowel 
in  the  first  syllable,  although  in 
Greek  TrpdAoyos  the  first  vowel 
is   short.     Latin   pro   has   influ- 
enced   this    and    several    other 
Greek      loan     words      contain- 
ing   'the      preposition      wpd.  — 
scribundis  =  scribendis ;  for  the 
form,    see    on    pariundi    (233). 

—  operam  :  abutor  always  takes 
the  accusative  in  Plautus  and 
Terence,  although  utor  usually 
governs  the  ablative.  In  early 


64 


TERENTI  ANDRIA 


Non  qui  argumentum  narret,  sed  qui  malivoli 

Veteris  poetae  maledictis  respondeat. 

Nunc,  quam  rem  vitio  dent,  quaeso  animum  advortite. 

Menander  fecit  Andriam  et  Perintiam. 
10          Qui  utramvis  recte  norit,  ambas  noverit. 

Non  ita  dissimili  sunt  argumento,  et  tamen 

Dissimih  oratione  sunt  factae  ac  stilo. 

Quae  convenere  in  Andriam  ex  Perintia 

Fatetur  transtulisse  atque  usum  pro  suis. 
15          Id  isti  vituperant  factum  atque  in  eo  disputant 


is 


Latin  abutor  always  has  its  ety- 
mological meaning  "  use  up." 

6.  qui  is   an  old   ablative  of 
the   relative   pronoun ;    for  the 
form,    see    on    53.       Here,    as 
often,    it    is    equivalent    to    ut 
and  introduces  a  purpose  clause. 
—  argumentum  :         "  plot."  — 
malivoli :    a  short  vowel  at  the 
end   of  the   first   member  of  a 
compound  regularly  becomes  i; 
from   the   stems   magno-,   agro-, 
and     aequo-     we     have     magni- 
ficus,    agri-cola,    and    aequi-dis- 
tans,    and,    in    the    same    way, 
from  the  stem  malo-  we  get  the 
compound  mali-volus.     Classical 
male-volus   gets    its   e   from    the 
adverb  male. 

7.  veteris    poetae :      Luscius 
Lanuvinus  (see  Introduction  9). 
Luscius  and  his  school  resented 
Terence's  rejection  of  their  ar- 
tistic   standards    and    attacked 
him  bitterly.  —  maledictis  :   this 


was  originally  a  phrase,  male 
dictum,  and  so  the  vowel  of  the 
antepenult  was  always  e.  Com- 
pare the  note  on  malivoli  (6). 

8.  vitio  :  for  the  case,  see  A.  & 
G.  382,  B.  191,  Bu.  483,  G.  356, 
H.  &  B.  360,  H.  433,  L.  &  M.  548. 

9.  Menander :    see  Introduc- 
tion   5   and    15. — Perintia:  the 
classical    form  of   the    word    is 
Perinthia   (Greek    IIepiv#ia,  see 
on  epebis,  51),  and  that  is  the 
form    which     is    employed     in 
English. 

10.  norit  =  noverit. 

12.    oratione:          "thought." 
—  stilo  :    "  style." 

14.  fatetur :  sc.        poeta. 
—  transtulisse  :      for  the  omis- 
sion of  the  subject  of  the  infini- 
tive, see  on  dictum  (29). 

15.  id  isti :    for  the  quantity, 
see      Introduction      19.  —  isti : 
the   poet's  critics.  —  disputant : 
"  maintain." 


PROLOGUS 


20 


Contaminari  non  decere  fabulas. 
Faciuntne  intellegendo,  ut  nihil  intellegant  ? 
Qui  quom  hunc  accusant,  Naevium  Plautum  Ennium 
Accusant,  quos  hie  noster  auctores  habet, 
Quorum  aemulari  exoptat  neclegentiam 
Potius  quam  istorum  obscuram  diligentiam. 
Dehinc  ut  quiescant  porro  moneo  et  desinant 
Male  dicere,  malefacta  ne  noscant  sua. 


16.  contaminari :       "  to     be 

mixed,"  as  Menander's  Andria 
and  Perinthia  were  mixed  to 
form  Terence's  Andria  (see 
Introduction  15). 

17.  faciuntne     really     means 
"  do    they   or   do    they   not  ?  " 
Classical  Latin,  however,  would 
surely     use     nonne     here,     and 
English  idiom  also  requires  "  do 
they  not."  —  faciuntne     .     .     . 
intellegant :       "  Do     they     not 
with    all    their    knowing    really 
know     nothing  ? "     or,     better, 
"  Do  they  with  all  their  know- 
ing really  know  anything  ?  " 

1 8.  Naevium     Plautum     En- 
nium :    for   Plautus,   see   Intro- 
duction   8.       Naevius    was    an 
earlier    contemporary    of   Plau- 
tus   who    wrote    comedies    and 
tragedies,      and,    late     in     life, 
an  epic  poem  on  the  war  with 
Carthage,    from     which     Vergil 
is  said  to  have  borrowed  not- a 
little.     Ennius    was    a    younger 
contemporary  of    Plautus   who 

TER.    ANDRIA — -5 


wrote  plays,  but  who  is  best 
known  for  his  epic  poem  on  the 
history  of  Rome  from  the  land- 
ing of  ./Eneas  in  Italy  down  to 
the  poet's  own  day.  This  was 
regarded  as  the  greatest  Roman 
epic  until  the  appearance  of 
Vergil's  JEneid. 

19.  hie  noster:  sc.poeta;  see 
on    i.  —  auctores  :    "  examples, 
models." 

20.  neclegentiam :    "  careless 
freedom,"  in  the  sense  in  which 
we  speak  of  a  "  free  translation." 
But  perhaps  we  should  translate 
"carelessness,"  and  think  of  this 
and  diligentiam  in  the  next  line 
as  quoted  from  Lanuvinus. 

21.  obscuram       diligentiam: 
"  obscure  literalism,"  or  perhaps 
"  obscure  accuracy." 

22.  dehinc :      for     the     pro- 
nunciation, see  on  79.  —  dehinc 
porro  :    "  from  now  on." 

23.  malefacta:    originally     a 
phrase,    male   factum;     see    on 
maledictis  (7). 


66 


TKRFATI     ANDRIA 


Favete,  adeste  aequo  animo  et  rem  cognoscite, 
Ut  pernoscatis,  ecquid  spei  sit  relicuom, 
Posthac  quas  faciet  de  integro  comoedias, 
Spectandae  an  exigendae  sint  vobis  prius. 


24.  favete :    so.  linguis ;    this 
was    a    formula    spoken    before 
the    celebration    of   a    sacrifice. 
"  Favor  <  the  occasion  >  with 
your  tongues  "  properly  meant 
"  use     only     words     of     good 
omen  " ;    but,  as  no  word  was 
quite  certain  to  be  free  from  ill 
omen,  the  only  safe  procedure 
was    to    be    quiet.     Hence    the 
phrase  came  to  mean,  as  it  does 
here,     "be     quiet."  —  adeste : 
"  be        attentive."  aequo : 
"  fair."  —  rem     cognoscite     in- 
volves   a    metaphor    from    the 
courts ;     "  examine    the    case  " 
between  Terence  and  his  critics 
by  listening  to  this  play. 

25.  spei   is    a   monosyllable ; 


see  on  fide  (296).  —  relicuom 
(  =  reliquom,  relicum)  contains 
four  syllables  in  early  Latin. 

26  f.  These  verses  contain 
an  indirect  question  depending 
upon  pernoscatis  (25),  but  at  the 
same  time  they  give  the  sub- 
stance of  the  hope  (spei)  men- 
tioned in  the  latter  half  of  line  25. 

26.  de   integro :     in    contrast 
to  the  old  play  which  is  about 
to  be  presented ;    cf.   introduc- 
tory  note   on   the   prologue.  — 
comoedias :   for  the  case,  see  on 
fabulas  (3). 

27.  spectandae,    with    which 
we  must  understand  sint  from 
exigendae  sint,  is  the  first  half 
of  a  double  indirect  question. 


ACTUS  I 


The  scene  remains  unchanged  throughout  the  play.  It  represents  a  street  in 
Athens  and  the  fronts  of  two  houses,  one  of  which  belongs  to  Simo  and  one  to 
Glucerium.  The  street  leads,  on  the  spectators'  right,  to  the  market;  on  the  left, 
to  the  harbor  and  the  country. 

SIMO        SOSIA 
SENEX    LIBERTUS 

[They  enter  from  the  right,  followed  by  several  slaves  carrying 
provisions  for  to-day's  dinner.} 

Si.    [To  his  slaves.]     Vos  istaec  Intro  auferte ;  abite.     [Exeunt 
slaves.     Simo  turns  to  his  freedman.]     Sosia, 


ACT  I     SCENE  i 

The  division  of  Latin  comedies 
into  acts  is  not  indicated  in  the 
manuscripts,  but  is  important  for 
our  understanding  of  the  plays. 
In  the  performance  of  the  Greek 
originals  the  chorus  sang  and 
danced  between  the  acts  and 
thus  marked  the  play  off  into 
clearly  distinct  parts.  On  the 
Roman  stage  the  flute  player 
sometimes  furnished  musical  in- 
terludes between  the  acts,  but  at 
other  times  the  performance 
seems  to  have  continued  without 
any  pause.  A  necessary  condi- 
tion for  the  close  of  an  act  was 
that  none  of  the  actors  should 
remain  on  the  stage;  but  the 
stage  might  be  left  vacant  for  a 
moment  in  the  middle  of  an  act. 


The  division  into  scenes,  al- 
though recorded  in  the  manu- 
scripts, has  no  importance.  A 
new  scene  is  usually  marked 
when  an  actor  enters  or  leaves 
the  stage,  but  the  plan  is  not 
carried  out  consistently. 

28.  istaec  :  in  early  Latin  the 
enclitic  -c(e),  "  here,  there," 
which  always  appears  in  certain 
forms  of  hi-Cj  is  often  appended 
to  the  forms  of  ille  and  iste.  The 
forms  with  appended  -c(e)  may 
be  found  in  the  grammars  :  A.  & 
G.  146  a,  Bu.  244,  G.  104.  II  2, 
III  3,  H.  &B.  138.  2c,  H.  178.6. 
Istaec  has  here  its  exact  force  as 
the  demonstrative  of  the  second 
person,  since  it  refers  to  the  pro- 
visions carried  by  the  slaves.  — 
Sosia  is  Greek  Swcrias.  (We  find 
the  name  in  Menander's  Pericei- 


67 


68 


TERENTI  ANDRIA 


Ades  dum;   paucis  te  volo.     So.   Dictum  puta  : 
30         Nempe    ut    curentur     recte    haec  ?      Si.   Immo 

So.  Quid  est 

Quod  tibi  mea  ars  efFicere  hoc  possit  amplius  ? 
Si.   Nil  istac  opus  est  arte  ad  hanc  rem  quam  paro, 
Sed  is  quas  semper  in  te  intellexi  sitas, 
Fide  et  taciturnitate.  So.  Expecto  quid  velis. 
35  Si.    Ego  postquam  te  emi,  a  parvolo  ut  semper  tibi 
Apud  me  iiista  et  clemens  fuerit  servitus, 
Scis.     Feci  ex  servo  ut  esses  libertus  mihi, 


aliud. 


romene,  Introduction  5.)  Ter- 
ence always  drops  final  -s  in  the 
nominative  of  Greek  masculine 
names  of  the  first  declension. 

29.  ades  dum  :  for  the  accent, 
see  Introduction    18.     The  en- 
clitic dum  (originally  temporal) 
tones  down  the  abruptness  of  an 
imperative,  as  in   the  common 
age  dum, "  come  now  "  ;  translate 
"wait  a  moment."  —  paucis  (sc. 
verbis)  is  ablative  of  means  with 
an  infinitive,  such  as  appellare,  to 
be  understood.  —  dictum  is  a  par- 
ticiple in  indirect  discourse  (  = 
dictum  esse).     The  subject  of  a 
main  clause  in  indirect  discourse 
is    freely  omitted    in   colloquial 
Latin  in  case  it   can   be  easily 
supplied ;    here,  however,  Sosia 
guards  against  being  misunder- 
stood by  supplying  the  subject 
as  an  afterthought  (ut  curentur). 

30.  ut  curentur  :  a  clause  of  in- 
direct command  used  as  the  sub- 


ject of  dictum  of  the  preceding 
line;  cf. Plautus,  Miles  1089  :  die 
domum  ut  transeat.  Curo  is  often 
used  of  preparing  food.  —  immo 
aliud:  "no,  something  else." 

32.  istac :   the   demonstrative 
of  the   second    person  refers  to 
Sosia's  mea  (31). 

33.  is  =  eis.     Supply    artibus 
from  istac  arte. 

35.  parvolo  =  parvulo ;    where 
Latin  of   imperial    times   shows 

.  the  combination  uu  or  vu,  early 
Latin  regularly  has  uo  or  vo. 
Other  examples  are  servolos  (83), 
voltu  (119),  Davos  (159).  The 
spelling  with  o  once  represented 
the  pronunciation,  but  there  is 
reason  to  believe  that  the  vowel 
came  to  be  spoken  as  u  long  be- 
fore it  was  so  written.  —  a  par- 
volo :  English  idiom  requires 
an  abstract  substantive,  "from 
childhood." 

36.  apud  me  :  the  unemphatic 


ACTUS  I,  SCENA  I 


69 


Propterea  quod  servibas  liberaliter. 
Quod  habui  summum  pretium,  persolui  tibi. 
40  So.  In     memoria    habeo.       Si.  Haud    muto    factum.      So. 

Gaudeo, 

Si  tibi  quid  feci  aut  facio  quod  placeat,  Simo, 
Et  id  gratum  fuisse  advorsum  te  habeo  gratiam.  15 

Sed  hoc  mihi   molestumst ;    nam  istaec  commemoratio 
Quasi  exprobratiost  inmemori  benefici. 

personal  pronoun  had  no  accent ;      iambic  law ;  see  Introduction  19. 


that  is,  it  was  pronounced  as  an 
enclitic.  Hence  this  phrase  was 
virtually  a  single  word  with  a 
long,  and  therefore  accented, 
penult.  Cf.  ad'es  dum  (29),  and 
see  Introduction  18. 

38.  servibas  =  serviebas ;      in 
early  Latin,  verbs  of  the  fourth 
conjugation  form  the  imperfect 
indicative    in   -ibam    or  -iebam. 
—  liberaliter:  "in  the  spirit  of  a 
free  man." 

39.  pretium   =  praemium.  - 
persolui :  the   early  Latin   form 
for  persolvi.1 

40.  Sosia  prides  himself  upon 
being  a  good  and  loyal  servant. 
In  line  29  he  tried  to  forestall  a 
reminder  of  his  duty.     Now  the 
same  feeling  leads  him  to  inter- 
pret   Simo's    rehearsal    of   past 
kindnesses   as    a    reproof.      His 
.tone    shows    vexation.      Hence 

Simo's  reassuring  rejoinder. 

42.  id  and  the  second  syllable 
of  fuisse  are  shortened  by  the 


—  advorsum  :  the  early  form  of 
adversum.  Advorsum  te  means 
"before  you";  translate  "to 
you."  —  habeo  gratiam,  "I  feel 
gratitude,"  is  to  be  carefully  dis- 
tinguished from  gratias  ago,  "  I 
thank  you,"  and  gratiam  refero, 
"  I  return  the  favor,  retaliate." 

43.  hoc    is   shortened   by  the 
iambic  law.  —  molestumst  —  mo- 
lestum  est;  see  the  next  note. 

44.  exprobratiost  =  exprobratio 
est;    es   and   est   after  a  vowel 
become  's  and  'st,  and  our  manu- 
scripts of  Plautus  and  Terence 
often   indicate  that  pronuncia- 
tion by  the  spelling.     When  -m 
precedes  est  the  manuscripts  give 
such  forms   as  molestumst  (43), 
although  the  pronunciation  was 
probably  molestust.  —  inmemori : 
dative  after  exprobratio  ;  in  early 
Latin,  verbal  nouns  in  -tio  fre- 
quently take  the  same  construc- 
tions as  the  verbs  from  which 
they  are  formed.  —  benefici:  in 


1  See  Sommer,  Handbuch  145. 


7o 


TEREXTI   AXDRIA 


45         Quin  tu  uno  verbo  die,  quid  est  quod  me  velis. 
Si.    Ita  faciam.     Hoc  primum  in  hac  re  praedico  tibi : 

Quas  credis  esse  has,  non  sunt  verae  nuptiae. 
So.  Quor    simulas    Tgitur  ?      Si.  Rem    omnem    a    principio 

audies : 
Eo  pacto  et  gnati  vitam  et  consilium  meum 


early  Latin,  words  of  four  sylla- 
bles, the  first  three  of  which  were 
all  short,  were  regularly  accented 
on  the  first;  so  pilosopos  (57), 
mulieres  (117),  etc.  In  Cicero's 
day  contracted  genitives  like 
benefici  and  consili  were  accented 
on  the  penult,  but  early  Latin 
verse  indicates  that  at  that  time 
they  followed  the  same  accentual 
laws  as  other  words. 

45.  quin  die  :  quin  (qui,  "  why  "  . 
H — ne,  "  not ")  with  the  indica- 
tive often  conveys  a  suggestion 
that  is  virtually  a  command : 
e.g.,  Quin  taces?  (399)  "Why 
don't  you  hush  ?"  The  use  with 
the  imperative  is  due  to  the  con- 
tamination of  two  synonymous 
expressions.  One  sometimes 
starts  to  say,  "  Why  did  you  do 
that  ? "  but  thinks  of  the  equiva- 
lent and  partly  identical  ques- 
tion, "  What  did  you  do  that 
for  ? "  and  ends  by  saying  "  Why 
did  you  do  that  for  ?  "  Just  so 
one  sometimes  started  to  say 
quindicis?  but,  thinking  of  the 
equivalent  die,  he  ended  by  say- 
ing quin  die.  —  quid  est:  in  early 


Latin,  indirect  questions  often 
take  the  indicative,  especially  in 
connection  with  an  imperative. 
Some  scholars  prefer  to  say  that 
such  questions  are  not  really  de- 
pendent.—  quod  is  a  secondary 
object  of  velis ;  see  A.  &  G.  390  d, 
B.  178.  i  d,  Bu.  510,  G.  341.  2,  H. 
&  B.  397,  H.  412,  L.  &  M.  524. 

47.  quas  credis  esse  has: 
quas  =  quales  (the  antecedent  is 
verae}.  Although  has  and  nup- 
tiae logically  belong  together, 
they  stand  in  different  clauses 
and  each  takes  the  case  proper 
to  its  own  clause.  English  idiom 
requires  that  they  be  brought 
together :  "  This  is  not  a  real 
marriage,  as  you  consider  it  to 
be,"  or  better,  "  Though  you 
consider  it  such,  this  is  not  a 
real  marriage."  As  appears  la- 
ter (lines  238  f.,  253  ff.),  Simo 
has  not  yet  informed  his  house- 
hold that  the  marriage  is  set 
for  to-day;  but  it  has  been 
necessary  to  explain  to  Sosia  the 
unusually  liberal  marketing. 

49.  eo :  for  the  scansion, 
see  Introduction  19.  —  gnati 


ACTUS  I,  SCENA  I 


50         Cognosces,  et  quid  facere  in  hac  re  te  velim. 
51,  52  Nam  is  postquam  excessit  ex  epebis  (nam  antea 

Qui  scire  posses  aut  ingenium  noscere, 

Dum  aetas  metus  magister  prohibebant  ?     So.  Itast.) 


(classical  nati)  shows  the  initial 
g  which  was  permanently  re- 
tained in  co-gnatus. 

51.  nam:  "well  then."  - 
epebis  =  classical  Latin  ephebis. 
In  early  times,  when  the  Romans 
borrowed  Greek  words  they 
did  not  take  pains  to  pronounce 
accurately  the  unfamiliar  Greek 
aspirates,  x  (c^>  pronounced 
nearly  as  ckh  in  blockhouse), 
<f>  (ph,  as  in  haphazard),  and  0 
(th,  as  in  boathouse).  Instead 
they  used  the  nearest  equiva- 
lents their  own  language  fur- 
nished, namely,  c,  p,  and  t, 
respectively.  It  was  not  until 
after  Terence's  time  that  edu- 
cated Romans  began  to  take 
their  Greek  more  seriously  and 
to  pronounce  and  write  the 
h  which  followed  the  mute 
in  such  words.  Epebi  were 
young  men  from  18  to  20,  during 
which  years  they  served  in  the 
militia.  The  line  means  "  after 
he  came  of  age."  , 

53.  qui:  an  early  Latin 
ablative  of  quis  or  qui.  The 
relative-interrogative  belongs  to 
the  first  and  second  declension 
in  some  of  its  forms  (e.g.,  nom. 


pi.  qui,  quae,  gen.  pi.  quorum, 
quarum),  but  in  others  it  is  an 
i-stem  of  the  third  declension 
(e.g.,  quis,  quern,  quibus).  Be- 
sides the  ablative  quo,  qua, 
quo,  early  Latin  possessed  also 
the  t'-stem  ablative  qui  (pre- 
served in  the  classical  phrases 
qui-cum,  at-qui,  etc.)  which 
served  for  all  three  genders. 
The  form  qui  was  used  not  only 
in  all  the  senses  of  the  other 
form,  but  also  in  several  ad- 
verbial uses.  Very  frequently 
it  means  "  how,"  interrogative 
(as  here),  indefinite,  or  relative. 
In  the  sense  of  "  why  "  (which 
occurs  in  lines  150,  934,  954, 
etc.)  it  combines  with  the  old 
negative  ne  ( =  non)  to  form 
quin  (cf.  on  45).  —  posses: 
the  mood  is  due  entirely  to  the 
indefinite  second  person ;  Ter- 
ence might  have  written  quis- 
quam  poterat.  The  tense  is 
the  same  as  that  of  prohibebant, 
and  for  the  same  reason. 

54.  magister :  here,  as  in 
Phormio  72,  the  word  is  the 
equivalent  of  the  Greek  loan 
word  paedagogus  (7reu8ay<i>- 
yos),  the  designation  of  the 


TERENTI   ANDRIA 


55  Si.   Quod  plerique  omnes  faciunt  adulescentuli, 

Ut  animum  ad  aliquod  studium  adiungant,  aut  equos 
Alere  aut  canes  ad  venandum,  aut  ad  pilosopos, 
Horum  ille  nil  egregie  praeter  cetera 
Studebat,  et  tamen  omnia  haec  mediocriter. 

60         Gaudebam.     So.  Non  iniuria ;   nam  id  arbitror 

Adprime  in  vita  esse  utile,  ut  ne  quid  nimis. 
Si.    Sic  vita  erat ;   facile  omnis  perferre  ac  pati ; 
Cum  quibus  erat  quomque  una,  is  sese  dedere; 

slave  who  conducted   the  chil-       idioms ;     cf.    qui,  "  how,"    dis- 


.50 


35 


dren   to  and   from   school,   and 
had  charge  of  them  at  home. 

55.  plerique    omnes   scarcely 
differs    from    plerique    alone.  — 
adulescentuli :     scarcely    differ- 
ent   from    adulescentes ;     faded 
diminutives    are    characteristic 
of  colloquial  Latin. 

56.  ut  .  .  .  adiungant :  a  sub- 
stantive   clause    of    result    de- 
nning quod. 

57.  alere     is     in     apposition 
with  studium,  while  ad  pilosopos 
depends  directly  upon  animum 
adiungant.     The  change  in  con- 
struction is  colloquial,  but  was 
no  doubt  chosen  here  to  avoid 
coupling  dogs  and  philosophers 
too    closely.     For    the    spelling 
of  pilosopos,  see  on  epebis  (51). 
For  the  accent,  as  indicated  by 
the  ictus,  see  on  benefici  (44). 

58.  horum  is  neuter. 

60.  iniuria :  the  ablative  of 
manner  without  a  modifier  oc- 
curs in  a  number  of  common 


cussed  in  the  note  on  line  53. 

61.  ut  ne  quid  nimis:  "noth- 
ing in  excess  "  ;    ut  ne  expresses 
all    that    could    have    been    ex- 
pressed   by    the    mood    of    the 
omitted     verb;      we     have     a 
substantive  clause  of  will.     The 
expression  is  a  translation  of  a 
common  Greek    proverb    (p-rfifv 
ayav)    and     epitomizes    a    very 
important  part  of  popular  Greek 
ethics.     The     freedman     states 
explicitly  what  his  more  culti- 
vated   master    implied    in    one 
word,  gaudebam. 

62.  sic  =  talis    is    character- 
istic of  colloquial  Latin. 

63.  quomque        =       cumque. 
Early  Latin  retained  in  several 
words  the  sound  group  quo,  which 
later  became  cu.     Compare  the 
change  of  uo  and  vo  to  uu  and  vu 
(seeon  parvolo,  35).  Thischange 
too  was  earlier  in  pronunciation 
than  in  spelling.  Construe  quom- 
que with  quibus.  —  is  =  eis. 


ACTUS  I,  SCENA  I 


73 


Eorum  obsequi  studiis,  advorsus  nemini, 
65         Numquam  praeponens  se  illis  — ita  ut  facillume 
Sine  invidia  laudem  invenias  et  amicos  pares. 

50.  Sapienter  vitam  instituit ;   namque  hoc  tempore 
Obsequium  amicos,  veritas  odium  parit. 

51.  Interea  mulier  quaedam  abhinc  triennium 
70         Ex  Andro  commigravit  hue  viciniam, 

Inopia  et  cognatorum  neclegentia 

Coacta,  egregia  forma  atque  aetate  Integra. 

So.  Ei,  vereor  ne  quid  Andria  adportet  mali  ! 

Sz'.    Primo  haec  pudice  vitam,  parce  ac  duriter, 
75         Agebat,  lana  ac  tela  victum  quaeritans; 


40 


45 


64.  eorum :    for  the  prosody, 
see     Introduction      19     end.  — 
advorsus    is    the    participle    of 
advorto  (classical  adverto). 

65.  ita    ut :     although    ita   is 
to    be    construed    with    obsequi, 
it  is  logically  a  part  of  the  after- 
thought or  supplementary  com- 
ment   conveyed    in    ut  .  .  .  in- 
venias ;  translate  "  in   the  way 
in    which."  —  ut    is     shortened 
by  the  iambic  law. 

66.  sine     invidia :      for     the 
prosody,    see    Introduction     19. 
The  first  foot  of  the  line  is  a 
proceleusmatic.  —  invenias:  the 
mood    is   due    to  the    indefinite 
second  person. 

67.  hoc     tempore :      popular 
moralists     of    every     age     find 
their  generation  worse  than  the 
one  before  it. 

70.    viciniam     is     here     used 


without  a  preposition  to  express 
the  end  of  motion ;  cf.  the  com- 
mon use  of  domum. 

71.  cognatorum   neclegentia: 
her    nearest    relative    is    Crito, 
who  appears  in  the  latter  part 
of  the   play.     The   information 
here  given  about  his  treatment 
of  his  kinswoman  is  of  the  ut- 
most importance  to  the  under- 
standing of  his  character. 

72.  aetate  integra  :  "  with  her 
life  all  before  her,  in  the  prime 
of  life,"  or,  somewhat  less  ex- 
actly, "  in  the  bloom  of  youth." 

73.  ei :     the    interjection. 

74.  duriter :    adverbs   in  -ter 
from     adjectives     in     -us    were 
colloquial  in   Cicero's   day.     It 
is   not   certain   that   they   were 
so  in  the  time  of  Terence. 

75.  quaeritans:       frequenta- 
tives  are  more  common  in  col- 


74 


TERENTI   ANDRIA 


Sed  postquam  amans  accessit  pretium  pollicens 
Unus  et  item  alter,  ita  ut  ingeniumst  omnium 
Hominum  ab  labore  proclive  ad  lubidinem, 
Accepit  condicionem,  dehinc  quaestum  occipit. 

80         Qui  turn  illam  amabant,  forte,  ita  ut  fit,  filium 
Perduxere  illuc,  secum  ut  una  esset,  meum. 
Egomet  continuo  mecum :   'certe  captus  est; 
Habet.'     Observabam  mane  illorum  servolos 
Venientis  aut  abeuntis.     Rogitabam  'heus  puer, 

85         Die  sodes,  quis  heri  Crusidem  habuit  ?'  nam  Andriae 


5° 


55 


loquial  than  in  formal  Latin. 
Often  they  are  weakened  until 
they  scarcely  differ  in  meaning 
from  the  primitive  verb. 

78.  proclive :       "  downhill  "  ; 
be  careful  to  keep  the  metaphor 
in  your  translation. 

79.  condicionem  :      "  terms." 
—  dehinc :      pronounced     deinc 

with  diphthongal  ei,  as  regu- 
larly in  all  periods  of  the  lan- 
guage ;  so  deinde,  dein,  proinde, 
proin  contain  diphthongs.  The 
spelling  with  h  was  retained  be- 
cause every  one  was  conscious 
that  the  compound  contained 
hinc .  -  -  quaestum  :  translate 
"  profession,"  although  quae- 
stus  in  its  original  sense  is 
nearer  English  "  trade  "  or  "  oc- 
cupation." —  occipit :  an  early 
Latin  synonym  of  incipit. 

82.  egomet :  the  use  of  the 
strengthened  form  of  the  pro- 
noun without  marked  emphasis 


is  characteristic  of  colloquial 
Latin.  The  omission  of  the 
verb  of  saying  is  another  collo- 
quialism. 

83.  habet,  in  the  slang  of  the 
arena,     meant     "  he     has     his 
deathblow."  —  servolos  :  for  the 
diminutive,      see      on      adules- 
centuli   (55);    for    the    spelling, 
see  on  parvolo  (35). 

84.  rogitabam  :  see  on  quaeri- 
tans  (75).     Here  the  frequenta- 
tive has  its  full  force.  —  puer : 
colloquial  for  serve,  just  as  in  the 
Southern  States  "  boy  "  formerly 
meant  "slave"  (of  any  age). 

85.  sodes  stands  for  si  aiides ; 
the  vowel  of  si  was  elided  and 
au  tended  to  become  o  in  collo- 
quial   Latin.     The    verb    audeo 
is   a   derivative  of  avidus,   and 
in    this    phrase    it    retains    its 
original      meaning      "  desire  " ; 
translate    "  if    you    please." 
Crusidem :     the    classical    form 


ACTUS  I,  SCENA  I 


75 


Illi   id    erat  nomen.      So.    Teneo.       Si.    Paedrum   aut 

Cliniam 

Dicebant  aut  Niceratum  ;   nam  hi  tres  simul  60 

Amabant.      'Eho,  quid  Pampilus?'      'Quid?     Sumbo- 

lam 

Dedit,  cenavit.'     Gaudebam.     Item  alio  die 
Quaerebam  ;   comperiebam  nil  ad  Pampilum 
Quicquam  attinere.     Enim  vero  spectatum  satis 
Putabam  et  magnum  exemplum  continentiae;  65 

Nam  qui  cum  ingeniis  conflictatur  eius  modi 


of  the  name  would  be  Chrysis 
(Gk.  Xpwis) ;  cf.  on  sum- 
bolam  (88). 

86.  teneo :  "  I  get  you." 
88.  Pampilus :  the  classical 
form  would  be  Pamphilus  (Gk. 
IIa/A<£iA.os) .  —  sumbolam  :  the 
classical  form  would  be  sym- 
bolam.  The  letters  Y  and  Z  do 
not  occur  in  genuine  Latin 
words,  and  in  Terence's  day 
they  were  not  used  at  all  in 
Latin ;  Greek  Y  and  Z  were 
represented  by  Latin  U  and  SS 
(or  S),  respectively.  At  a  later 
time,  when  the  Romans  began 
to  write  PH  for  Greek  $,  etc. 
(see  on  epebis,  51)  they  also 
introduced  the  characters  Y 
and  Z.  The  word  sumbola 
means  "  contribution,"  and  here 
designates  a  payment  toward 
the  expense  of  a  dinner.  Ter- 
ence keeps  the  Greek  word  which 
he  found  in  Menander;  in  his 


day,  probably,  no  Latin  word 
would  suggest  the  Greek  custom. 
Cicero,  however,  uses  conlecta 
in  precisely  this  sense. 

90.  nil    quicquam :     a    pleo- 
nasm    common     in     colloquial 
Latin. 

91.  enim   vero:    "in   fact"; 
enim  is  common  in  early  Latin 
without  causal  force.      Enim  is 
shortened    by   the   iambic   law. 

93.  ingeniis  shows  the  shift 
of  meaning  which  is  familiar 
in  the  English  word  "  character  " 
=  "  a  person  of  distinctive 
characteristics."  —  eius :  a 
monosyllable  pronounced  eis 
with  diphthongal  ei.  This  is 
probably  the  original  genitive 
of  is.  It  went  out  of  use  soon 
after  Terence's  time.  Our  man- 
uscripts always  spell  eius  and  it 
seems  best  to  follow  them.  In 
case  an  ictus  falls  upon  the 
monosyllabic  genitive  eius,  it  is 


TERENTI   ANDRIA 


Neque  commovetur  animus  in  ea  re  tamen, 
95         Scias  posse  habere  iam  ipsum  suae  vitae  modum. 
Quom  id  mihi  placebat,  turn  uno  ore  omnes  omnia 
Bona  dicere  et  laudare  fortunas  meas, 
Qui  gnatum  haberem  tali  ingenio  praeditum. 
Quid  verbis  opus  est  ?     Hac  fama  inpulsus  Cremes 
100         Ultro  ad  me  venit,  unicam  gnatam  suam 
Cum  dote  summa  filio  uxorem  ut  daret. 
Placuit ;   despondi.     Hie  nuptiis  dictust  dies. 


70 


marked  over  the  i,  as  here. 
Similar  genitives  from  other 
pronouns  are  hui(u)s  (210,  etc.). 
quoi(u)s  (336,  etc.),  and  illi(u)s 
(810). 

94.  animus  :     sc.    eius.  —  ea 
re  :    i.e.,  the  life  of  pleasure. 

95.  scias  :    potential  subjunc- 
tive with  the  indefinite  second 
person ;     see   A.    &   G.    447.    2,' 
B.  280,  Bu.  779,  G.  257,  H.  & 
B.  517.  i,  H.  552,  L.  &  M.  718. 
Contrast  the  subjunctive  with- 
out potential  force  in  posses  (53). 
The  ultima  is  shortened  by  the 
iambic  law;    as  is  that  of  suae. 

—  habere  modum  :    "  control." 

—  ipsum  :    i.e.,  without  aid. 

96.  quom  =  cum;      for     the 
form,  see  on  quomque  (63). 

98.  qui  finds  its  antecedent  in 
meas,  which  is  virtually  a  geni- 
tive of  ego.  —  gnatum  :  for  the  g, 
see  on  gnati  (49).  —  haberem: 
subjunctive  in  a  subordinate 
clause  in  indirect  discourse. 


100.  ultro  :  it  was  unusual  for 
the  girl's  father  to  make  the  first 
advances.  —  gnatam  :  for  the  ini- 
tial consonant,  see  on  gnati  (49). 

101.  dote:    the  settlement  of 
the  dowry  was  a  very  important 
question    in    an    Athenian    be- 
trothal.   Cf.  Introduction  p.  34. 

102.  despondi:    if  the  father 
had  made  a  decision  about  such 
a     matter,     the    son's    consent 
could     usually     be     taken     for 
granted.     Owing   to    the    seclu- 
sion of  Athenian  women,  a  man 
might    very    well    not    see    his 
bride's  face  until  she  removed 
her  veil  in  the  marriage  cham- 
ber. — •  dictust  =  dictus   est.     In 
Latin,    as    in    most    other    lan- 
guages,  a   vowel   which   is   pre- 
ceded and  followed  by  the  same 
consonant    or  group    of    conso- 
nants is  often  lost,  together  with 
one  of  the  consonants  or  con- 
sonant   groups;    e.g.,    nutrix    is 
from    *nu[tri-]trix,   a  derivative 


ACTUS  I,  SCENA  I 


77 


So.  Quid  igitur  obstat,  cur  non  fiant  ?     Si.  Audies. 
Fere  in  diebus  paucis,  quibus  haec  acta  sunt, 
Crusis  vicma  haec  moritur.     So.  O  factum  bene  ! 
Beasti;   metui  a  Cruside.     Si.  Ibi  turn  filius 
Cum  illis,  qui  amabant  Crusidem,  una  aderat  frequens;   go 
Curabat  una  funus  ;   tristis  interim, 
Non  numquam  conlacrumabat.     Placuit  turn  id  mihi. 


of  nutria;  semodius,  "a  half 
peck,"  is  from  *se[mi-]modius ; 
vendo  is  from  *ve[nu]n-do.  In 
the  same  way  dictu[s  e]st  loses 
a  syllable.  Similarly  we  have 
such  forms  as  locutus  for  lo- 
cutu[s  e]s  (202). 

103.  cur  non  fiant :   a  relative 
characterizing  clause;    the  ante- 
cedent of  cur   is   quid.     Trans- 
late     "  What's     blocking     the 
way  so  as  to  stop  it  ?  " 

104.  fere      .      .      .      paucis : 
"  approximately    within     a    few 
days  "  ;    the  tautology  is  collo- 
quial. — -  quibus    is    an    ablative 
of  the  time  within  which,  used 
where  English  idiom  requires  the 
conjunction  "  after."   The  usage 
occurs  in  Caesar,  B.  G.  3.  23,  pau- 
cis diebus,  quibus  eo  ventum  erat, 
and  elsewhere;  see  H.  488.  3. 

105.  haec  :  said  with  a  gesture 
indicating  Glucerium's  house. 

106.  beasti :    sc.  me.     Sosia's 
comments  on  the  narrative  ex- 
press the  feelings  of  the  audience; 


for  he  is  virtually  one  of  them 
throughout  this  passage.  A  simi- 
lar role  is  often  played  by  the 
chorus  in  a  Greek  tragedy.  —  ibi 
turn :  both  words  mean  "  then  " ; 
the  pleonasm  is  colloquial. 

107.  amabant :  the  imperfect 
instead  of  the  more  logical 
pluperfect  is  due  to  the  common 
tendency  to  speak  of  the  re- 
cently dead  as  if  they  were 
still  alive.  "  Burial  will  take 
place  from  the  late  residence 
of  the  deceased,"  runs  the 
obituary  notice;  but  an  ac- 
quaintance who  wants  to  attend 
the  funeral  is  likely  to  inquire, 
"  Where  does  Mr.  Blank  live  ?  " 
—  frequens :  an  adjective, 
where  English  idiom  requires 
an  adverb. 

109.  conlacrumabat:  "wept 
with  them."  l  —  turn  forecasts  a 
time  when  Simo  would  not  ap- 
prove of  this  act;  translate  "for 
the  moment." — turn  Id:  for  the 
scansion,  see  Introduction  20. 


1  Others  think  the  compound  is  intensive,  but  the  circumstances  would 
scarcely  warrant  bitter  tears  on  Pampilus'  part. 


TERENTI   ANDRIA 


no         Sic  cogitabam :   'hie  parvae  consuetudinis 
Causa  huius  mortem  tarn  fert  familiariter : 
Quid  si  ipse  amasset  ?     Quid  hie  mihi  faciet  patri  ? ' 
Haec  ego  putabam  esse  omnia  humani  ingeni 
Mansuetique  animi  officia.     Quid  multis  moror  ? 

115          Egomet  quoque  eius  causa  in  funus  prodeo, 

Nil    suspicans   etiam    mali.     So.    Hem,   quid   est  ?     Si. 

Scies. 

Ecfertur;  imus.     Interea  inter  mulieres, 
Quae  ibi  aderant,  forte  unam  aspicio  adulescentulam, 
Forma  .  .  .      So.    Bona   fortasse.     Si.    .  .  .  et      voltu, 
Sosia, 

1 20         Adeo  modesto,  adeo  venusto,  ut  nil  supra. 


85 


112.  mihi:  the  original  pros- 
ody; see  Introduction  19. 

115.  funus:      Athenian     law 
required  that  the  corpse  should 
be   burned    before   daylight   on 
the  morning  following  the  death. 

116.  etiam     is     temporal, 
"  still." 

117.  imus:      i.e.,     in     the 
funeral    procession. — -mulieres: 
for  the   accent,  see   on   benefici 

(44)- 

118.  The    fourth    foot    is    a 
proceleusmatic. 

1 19  ff.  Similarly  Homer,  //. 
3.  154  ff.,  puts  the  praise  of  his 
heroine's  beauty  in  the  mouths 
of  old  men  who  had  good  reason 
for  a  prejudice  against  her. 


119.  voltu  =  vultu ;     see    on 
parvalo  (35). 

120.  adeo    was    originally    a 
phrase  in  which  ad  was  followed 
by  eo,  the  adverb  of  direction 
(cf.    adhuc}.     The    first    mean- 
ing, then,  was  "  to  this  place  " 
or  "  to  such  a  place,"  but  the 
local    idea    is    rarely    retained. 
Here  the  meaning  is  "  to  such 
a  degree,   so."   —  ut  nil   supra: 
sc.  esse  posset.  —  nil :  the  neuter 
often  refers  in  a  general  way  to 
persons ;  thus  Cicero,  Ad  Quint. 
Frat.  3.  i.  19,  says  of  his  young 
nephew :    Nihil  puero  illo  sua- 
vius,  nihil  nostri   amantius.     A 
common  phrase  for  "  my  sweet- 
heart "  is  quod  amo.1 


1  Green,  CR.  18.  448  ff.,  thinks  that  the  neuter  in  such  cases  necessarily 
involves  emphasis.  It  certainly  does  not  in  the  second  instance  cited  above 
and  similar  ones ;  and  consequently  there  is  room  for  doubt  as  to  the  others. 


ACTUS  I,  SCENA  I 


79 


Quia  turn  mihi  lamentari  praeter  ceteras 
Visast,  et  quia  erat  forma  praeter  ceteras 
Honesta  ac  liberal!,  accedo  ad  pedisequas, 
Quae  sit  rogo.     Sororem  esse  aiunt  Crusidis. 

*5          Percussit  ilico  animum.     Attat  hoc  illud  est, 
Hinc  illae  lacrumae,  haec  illast  misericordia. 
So.  Quam  timeo,  quorsum  evadas  !     Si.    Funus  interim 
Procedit.    Sequimur;   ad  sepulcrum  venimus; 
In  ignem  inpositast ;   fletur.     Interea  haec  soror, 

|o         Quam  dixi,  ad  flammam  accessit  inprudentius, 

Satis  cum  periclo.     Ibi  turn  exanimatus  Pampilus 


OS 


122.  forma :  ablative. 

123.  honesta      ac      liberal!: 
"  respectable     and      ladylike." 
Liberalis  gets  the  meaning  "  gen- 
tlemanly,   ladylike "    from    the 
contrast  with  servilis. 

124.  esse :   for   the   omission 
of  the   subject,   see   on   dictum 

(29). 

125.  percussit  expresses  more 
surprise  and  anxiety  than  Eng- 
lish "  it  struck  me." 

126.  lacrumae:         usually 
spelled     lacrimae     in     classical 
Latin.       The     sound     of     the 
vowel  of  the  penult  was  prob- 
ably between  the  sounds  of  u 
and  i  (cf.  French  u  and  German 
u).     A  similar  variation  occurs 
in  lubet,  libet ;  optumus ,  optimus  ; 
volumus,  regimus,  and  in    many 
other  words. 

127.  quorsum    evadas:  indi- 
rect question  after  timeo. 


128.  sepulcrum  is  often  used 
of  the  place  where  the  body  is 
burned. 

131.  satis  cum  periclo  :  "  with 
some  risk,"  but  not  enough  to 
justify  Pampilus'  fright  if  he 
had  not  been  in  love.  Peri- 
clum  contains  the  stem  seen 
in  ex-peri-or,  "  try,  test,"  and 
peri-tus,  "  having  tried,  experi- 
mented," and  its  meaning  was 
originally  the  same  as  that  of 
ex-peri-mentum,  "  trial,  test." 
The  classical  periculum  comes 
from  this  by  the  development 
of  a  short  vowel  between  c  and 
/,  much  as  English  "  athletic " 
sometimes  comes  to  be  pro- 
nounced "  atheletic."  In  other 
words,  too,  early  Latin  often  dif- 
fers from  classical  Latin  in  the 
form  of  this  suffix ;  Plautus  and 
Terence  have  vehiclum  from  veho, 
cubiclum  from  cubo,  poclum  for 


8o 


TEREXTI   AXDRIA 


135 


Bene  dissimulatum  amorem  et  celatum  indicat. 

Accurrit;   mediam  mulierem  complectitur  : 

'Mea  Glucerium,'  inquit  'quid  agis  ?     Cur  te  is  perdi- 

tum  ?' 

Turn  ilia,  ut  consuetum  facile  amorem  cerneres, 
Reiecit  se  in  eum  flens  quam  familiariter  ! 
So.    Quid  ais  ?     Si.    Redeo  inde  iratus  atque  a,egre  ferens. 
Nee  satis  ad  obiurgandum  causae.     Diceret 


poculum,  saeclum  for  saeculum, 
etc.  The  diminutive  suffix  -cu- 
lus,  however,  has  two  syllables 
in  early  Latin,  e.g.,  aniculae, 
"little  old  woman"  (231), 
pisciculos,  "  little  fishes"  (369). 
—  ibi  turn :  for  the  pleonasm, 
see  on  106.  —  exanimatus  :  "  in 
breathless  horror." 

133.  mediam       mulierem: 
compare  such   phrases  as  sum- 
mus  mons  and  media  in  colle. 

134.  Glucerium :     the    classi- 
cal   form    would    be    Glycerium 
(Gk.     FAv/cepiov) ;     for     the    u, 
see   on   sumbolam    (88).     Greek 
women   often    had    names   end- 
ing   in   the    neuter    diminutive 
suffix    -lov    (cf.     German    Gret- 
chfn,  etc.) ;    a  modifying  adjec- 
tive   or    pronoun,    however,    is 
feminine,  as  here.  —  is :    second 
person     of     eo.     Cicero     would 
have    used    es   with    the    future 
active  participle. 

135-    cerneres:  potential  sub- 
junctive    with     the     indefinite 


second  person  (cf.  scias,  95), 
and  at  the  same  time  in  a  claust- 
of  result. 

136.  quam  familiariter  :"  how 
confidingly  ! " 

137.  quid  ais:    this  common 
,  colloquial       phrase       has      two 

sharply  distinct  meanings,  (i) 
When,  as  here,  it  refers  to  a 
previous  remark  of  another 
speaker  it  means  "  What's  that 
you  say  ?  What  ?  "  (2)  When 
it  refers  to  a  subsequent  re- 
mark of  the  same  speaker  it 
means  "  What  do  you  say  to 
this  ?  "  and  is  merely  a  means 
of  attracting  attention.  In  the 
latter  case,  translate  "  I  say." 

138.  diceret :      for     the     im- 
perfect    in     a     past     condition 
contrary  to  fact,   see  A.   &  G 
517  e  Note  2,   B.    304.  2,   Bu. 
919,  H.  &  B.  581,   H.  579.   i, 
L.  &  M.  939;    cf.  G.   596.   2, 
597   Remark    i.     Others   would 
explain  this  in  the  same  way  as 
abiret  (175). 


ACTUS  I,  SCENA  I 


81 


Si. 


'Quid  feci  ?     Quid  commerui  aut  peccavi,  pater  ? 
Quae  sese  in  ignem  inicere  voluit,  prohibui ; 
Servavi.'     Honesta  oratiost.     So.    Recteputas; 
Nam  si  ilium  obiurges,  vitae  qui  auxilium  tulit, 
Quid  facias  illi,  qui  dederit  damnum  aut  malum  ? 
Venit  Cremes  postridie  ad  me  clamitans : 
Indignum  facinus  !     Comperisse,  Pampilum 
Pro  uxore  habere  hanc  peregrinam.     Ego  illud  sedulo 


139.  commerui :     the       verb 
properly    means    "  earn,"     but 
where    the    thing    earned    is    a 
punishment    English    idiom    re- 
quires that  we  say  "  deserve." 

140.  prohibui :  sc.  earn. 

141.  oratio    here    and    often 
has  the  meaning  "  plea,"  which 
accords  with  the  common  mean- 
ing of  the  parent  verb  oro.     If, 
as  is  probable,  oro  is  a  deriva- 
tive   of  os,  "  mouth,"  oro  orig- 
inally    meant     "  speak,"     and 
oratio,  "  speech." 

143.  quid  facias  illi :  "  What 
would  you  do  to  him  ?  "  In- 
stead of  an  indirect  object  of 
facio  in  this  sense,  Terence 
usually  employs  an  ablative 
of  means,  as  in  quid  me  faciam 
(614).  —  damnum  :  "  loss  "  of 
property.  —  malum  :  "  injury  " 
to  the  person. 

145.  indignum  facinus  :  the 
accusative  in  exclamations  is 
very  common  in  colloquial 
Latin.  —  comperisse  :  for  the 

TER.    ANDRIA 6 


omission  of  the  subject  se,  see 
on  dictum  (29). 

145  f.  Cremes  blames  Pam- 
pilus  chiefly  for  regarding 
a  foreign  woman  as  virtu- 
ally .  his  wife.  Athenian  law 
strictly  forbade  the  marriage 
of  citizens  with  foreigners, 
and  public  opinion  censured 
a  permanent  connection  with  a 
foreign  woman.  A  temporary 
intrigue  between  a  young 
Athenian  an'd  such  a  woman, 
on  the  other  hand,  was  not 
thought  blameworthy  at  all. 
It  will  be  important  to  remember 
this  sharp  difference  between 
ancient  and  modern  feeling  in 
reading  the  rest  of  the  play. 
We  may  well  disapprove  of  the 
ancient  point  of  view,  but  we 
cannot  justly  blame  Terence,  or 
Menander,  or  their  characters 
for  exhibiting  the  usual  ethics 
of  their  times. 

146.  ego  illud:  shortened  by 
the  iambic  law. 


82 


TERENTI   ANDRIA 


Si. 


Negare  factum.     Ille  instat  factum.     Denique 

Ita  turn  discedo  ah  illo,  ut  qui  se  fiham 

Neget  daturum.     So.    N6n  tu  ibi  gnatum  .  .  .    ?     Si. 

Ne  haec  quidem 
Satis    vehemens    causa    ad    obiurgandum.     So.    Qui  ? 

Cedo. 
'Tute  ipse  his  rebus  finem  praescripsti,  pater. 


147.  negare    is    a    historical 
infinitive.  —  factum    stands    in 
indirect  discourse. 

148.  ut  .  .  .  neget:   a  result 
clause,     "  under    such    circum- 
stances that." —  qui:  ablative  of 
the  indefinite  pronoun,  "  in  some 
way,    in    any    way "  ;     see    on 
9WI  (S3)-     Here,  as  in  atqui,  its 
force  is    much    attenuated,  and 
scarcely  translatable. 

149.  non     tu     ibi     gnatum : 
"  Then      didn't      you  ...    ?  " 
English     word   order    prevents 
us  from  translating  gnatum  un- 
less we  supply  the  verb. 

150.  qui :  "  why  ?  "     See  on 
?MI"    (S3)- — cedo :      ce    is    the 
demonstrative      particle      that 
forms    the    second    element    of 
hi-Cj    his-ce,  etc.   (cf.    on    istaec, 
28) ;    do    is    the    original    form 
of    the    imperative    of   do    (cf. 
Gk.  oY-8o>-#i).     Cedo  is  regularly 
shortened    by   the    iambic   law. 


The  word  properly  means  "  give 
here,"  and  it  often  has  that 
sense,  sometimes  with  an  object 
expressed.  Frequently,  how- 
ever, it  refers,  as  here,  to 
an  idea  or  a  story,  "  tell 
me."  l 

151  ff.  Direct  quotations 
without  a  verb  of  saying  are 
rather  common  in  Roman  com- 
edy. Such  passages  were  made 
clear  on  the  stage  by  an  altera- 
tion of  tone,  a  style  of  delivery 
which  the  Romans  called  by 
a  Greek  word  (/w'/«^ns)  mean- 
ing "  imitation."  The  ancient 
commentator  on  Terence  says 
of  such  delivery,  aliena  verba 
sic  pronuntiamus  ut  vana  vide- 
antur,  "we  repeat  another's 
words  in  such  a  tone  as  to  make 
them  sound  silly." 

151.  his  rebus:  i.e.,  love 
affairs. — praescripsti,  for  -scrip- 
[si]sti,  illustrates  the  process 


1  This  etymology  is  not  quite  certain  ;   see  Walde,  Lateinisch.es  etymologi- 
sch.es  Worterbuch  s.v. 


ACTUS  I,  SCENA  I 


So. 
55  Si. 


Prope  adest,  quom  alieno  more  vivendumst  mihi :  125 

Sine  nunc  meo  me  vivere  interea  modo.' 

Qui  igitur  relictus  est  obiurgandi  locus  ? 

Si  propter  amorem  uxorem  nolit  ducere, 

Ea  primum  ab  illo  animum  advortenda  iniuriast. 

Et  nunc  id  operam  do,  ut  per  falsas  nuptias  130 

Vera  obiurgandi  causa  sit,  si  deneget ; 

Simul  sceleratus  Davos,  si  quid  consili 

Habet,  ut  consumat  nunc,  quom  nil  obsint  doli. 


which  gives  dictust  from  dictu- 
[s  e]st  (see  note  on  102).  Simi- 
lar forms  are  promisti  from 
promi[si]sti,  intellexti  from  in- 
tellexisti  (=  intellec[si]sti) ,  dixti 
from  dixisti  ,( =  dic[si]sti). 
Perfects  shortened  in  this 
way  are  very  rare  in  formal 
prose  of  the  classical  period. 

152.  prope  adest  quom : 
English  idiom  requires  that  we 
insert  a  phrase  such  as  "the 
time,  the  day,"  to  serve  as  ante- 
cedent of  "when"  and  as  subject 
of  the  main  verb.  —  vivendumst 
=  vivendum  est;  see  on  ex- 
probratiost  (44). 

156.  primum:  "for  the  first 
time";  so  again  line  936.— 
animum  advortenda  iniuriast : 
the  phrase  animum  advorto 
(classical  -verto)  is  treated  as  if 
it  were  a  verb,  i.e.,  in  the  active 
it  takes  a  direct  object,  and 
this  becomes  the  subject  of  the 
passive  (see  G.  342,  H.  &  B. 


391.  3).  The  phrase  is  often 
written  as  one  word,  animad- 
verto. 

157  flf.  Simo  hopes  that  if  he 
can  take  his  son  to  task  when 
he  has  the  right  clearly  on  his 
side,  he  can  get  the  boy  away 
from  Glucerium.  Then  there 
will  be  no  obstacle  in  the  way 
of  the  match  with  Cremes' 
daughter. 

157.  id:  operam  do,  like  ani- 
mum advorto,  is  a  phrase  which 
governs  a  direct  object;  it  is 
equivalent  to  euro. 

159.  sceleratus:       "rascal." 
In     the     comedies     the     young 
man's     body-slave     is     usually 
ready    to    help    him    evade    his 
father's  wishes.  —  Davos  =  Da- 
vus ;  see  on  parvolo  (35). 

160.  ut:     in    classical    prose 
the  conjunction  would  normally 
stand    before   sceleratus,   at   the 
head  of  the  clause,  and  that  is 
the  most  common  arrangement 


84 


TERENTI   ANDRIA 


165- 


Quern  ego  credo  manibus  pedibusque  obnixe  omnia 
Facturum,  magis  id  adeo,  mihi  ut  incommodet,  13 

Quam    ut   obsequatur   gnato.      So.    Quapropter  ?       Si. 

Rogas  ? 
Mala    mens,    malus    animus.     Quern    quidem    ego    si 

sensero  .  .  .    ! 

Sed  quid  opust  verbis  ?     Sin  eveniat,  quod  volo, 
In  Pampilo  ut  nil  sit  morae,  restat  Cremes, 
Qui  mi  exorandus  est;   et  spero  confore.  141 

Nunc  tuomst  ofFicium,  has  bene  ut  adsimules  nuptias, 
Perterrefacias  Davom,  observes  filium, 


in  early  Latin  too;  but  Ter- 
ence places  subordinating  con- 
junctions next  the  verb  more 
frequently  than  later  writers 
do.  Compare  ut  incommodet 
(162),  ut  obsequatur  (163),  si 
sensero  (164),  ut  adsimules 
(168).  Other  examples  may 
be  found  in  lines  30,  37,  122, 
etc. 

161.  manibus       pedibusque: 
do  not  sacrifice  this  picturesque 
colloquialism     in     your     trans- 
lation. 

162.  id    is    an    accusative   of 
respect    (H.     &    B.    388  a;    cf. 
Bu.  523-525,  0.333.   i  Remark 
2)    correlative    with    ut;     "  for 
this     purpose."     Others     prefer 
to   regard    id   as    an    appositive 
of  the  preceding  clause.  —  adeo 
marks  a  new  point,  "  besides." 
For  the  etymology,  see  on  1 20. 

163.  quapropter :  cf.  proptered. 


164.  mens:          "intellect, 
thoughts."  —  animus      includes 
the   emotional    nature    and    the 
will ;  translate  "  heart."  —  quern  : 
for  translation,  see  on  149. 

165.  opust  =  opus  est;       see 
on  dictust  (102). 

167.  confore     is     the     future 
infinitive   (fore  from  sum)   of  a 
defective  impersonal  verb  mean- 
ing "  it  succeeds,   there  is  suc- 
cess."    English  idiom  often  re- 
quires   a    personal    verb    where 
Latin   has   an   impersonal. 

168.  tuomst    =   tuom  est;  see 
on  exprobratiost  (44). 

169.  filium :      for     the     pro- 
leptic     accusative,     see     A.     & 
G.     576,  B.  374.  5.  a,  Bu.  852, 
G.  468,  H.  649.  4.     The  usage 
is    characteristic    of    colloquial 
Latin.     Compare    old-fashioned 
English  "  I  know  thee  who  thou 
art." 


ACTUS  I,  SCENA  I 


Quid  agat,  quid  cum  illo  consili  captet.     So.    Sat  est : 
Curabo.     Si.    Eamus  nunciam  intro;   i  prae,  sequor. 

[Exeunt  into  Simo's  house.] 


170.  sat  is  a  colloquial  form. 

171.  nunciam       (pronounced 
as   three   syllables)    is    a    collo- 
quial      combination       of   nunc 
and  iam  in  the  sense  of  "  now 
immediately."  1 

In    Menander's    Andria    the 


chorus  probably  appeared  at 
this  point  and  furnished  enter- 
tainment during  the  intermis- 
sion between  the  acts  (see 
Introduction  4).  In  the  Ro- 
man play  a  flute  player  fur- 
nished a  musical  interlude. 


1  The  derivation  from  nunce  and  a  particle  -am  is  impossible,  since  un- 
accented e  does  not  become  I  when  a  vowel  follows  (cf.  aureus,  adeo,  noceam, 
etc.).  For  the  combination  of  these  two  words,  cf.  iam  turn  and  German 
schon  jetzt. 


ACTUS   II 


SlMO 
SENEX 


DAVOS 

SERVOS 


[Enter  Simo  from  his  house.] 
Si.     Non  dubiumst,  quin  uxorem  nolit  filius; 
Ita  Davom  modo  timere  sensi,  ubi  nuptias 
Futuras  esse  audivit.     Sed  ipse  exit  foras. 
[Enter  Davos  from  Simo's  house.     Not  noticing  Sirao,   he 
soliloquizes.] 
175  Da.   Mirabar,  hoc  si  sic  abiret,  et  eri  semper  lenitas 

Verebar  quorsum  evaderet.  s 

Qui  postquam  audierat  non  datum  iri  filio  uxorem  suo, 
Numquam  quoiquam  nostrum  verbum  fecit  neque  id 
aegre  tulit. 

175.  abiret:         "was    going 
to  turn   out  " ;     a   future   from 
the  past  point  of  view   (H.   & 
B.  508,  509) ;  or,  what  amounts 
to     the     same     thing,     virtual 
indirect  discourse,  since  mirabar 
=  putabam    mirum  fore    (A.    & 

G.  592.  2,  B.  323,  Bu.  983,  G. 
596.  2,  H.  649  I,  L.  &  M.  791). 

176.  evaderet :     for   meaning 
and      mood,      compare     evadas 

(127). 

178.  Note  the  impressiveness 
of  the  five  spondees,  each  formed 
by  a  separate  word.  —  num- 
quam  as  an  emphatic  negative 
is  as  common  in  colloquial 
Latin  as  "  never  "  in  colloquial 
English.  -  -  quoiquam  =  cui- 


ACT  II     SCENE  i 

During  the  intermission  Simo 
has  informed  Davos  that  Pam- 
pilus  is  to  be  married  to-day. 
He  now  comes  out  to  go  in 
search  of  his  son  and  give  him 
the  same  notice. 

173.  ita  introduces  Simo's 
reason  for  the  opinion  stated 
in  line  172. 

175  ff.  Davos  is  much  dis- 
turbed by  the  unexpected  news 
he  has  just  heard,  and  his  agi- 
tation is  reflected  in  the  rapidly 
changing  meter.  The  metrical 
character  of  each  line  is  indi- 
cated in  the  Table  of  Meters 
in  Introduction  29. 


86 


ACTUS  H,  SCENA  I 


Si.     [Aside.]     At   nunc   faciet,   neque,    ut   opinor,   sine   tuo 

magno  malo. 
^o  Da.   Id  voluit,  nos  sic  necopinantis  duci  falso  gaudio, 

Sperantis  iam  amoto  metu,  interoscitantis  opprimi, 
Ne  esset  spatium  cogitandi  ad  disturbandas  nuptias; 
Astute.     Si.    [Aside.]     Carnufex    quae    loquitur  ?     Da. 

[Aside.]     Erus  est,  neque  provideram. 

Si.  Dave.  Da.  [With  feigned  surprise.]  Hem!  Quid  est  ? 
Si.  Eho  dum  ad  me !  Da.  [Aside.]  Quid  hie 
volt  ?  Si.  Quid  ais  ?  Da.  Qua  de  re  ?  Si. 
Rogas  ? 

$5  Meum    gnatum    rumor    est    amare.     Da.    Id    populus 

curat  scilicet. 


quam ;     for    quo  =  classical    cu, 
see  on  quomque  (63). 

179.  malo :    slang  for  "  pun- 
ishment"; translate  "  trouble." 

180.  necopinantis :  this  word 
and  several  others  contain  nee  in 
the  force  of  a  strengthened  non, 
"not    at     all."-— duci:  ducere, 
"  to  lead  "  and  then  "  to  mis- 
lead," is   one  of  the   numerous 
slang  expressions  for  "  to  cheat." 

181.  interoscitantis:    "open- 
mouthed  " ;    the  word  is  not  in 
the  dictionaries. 

182.  ne  esset  spatium  :      for 
the  order,  see  on  ut  (160). 

183.  For  the  iambic  octona- 
rii,  see  Introduction  22.  —  car- 
nufex  :  properly  "  executioner." 
No  doubt  its  use  as  a  term  of 
abuse     originated     in     thieves' 
slang  ;     translate    "  scoundrel." 


For  u  where  classical  Latin  has 
i,  see  on  lacrumae  (126).  —  pro- 
videram :  in  early  Latin  the 
pluperfect  frequently  has  its 
original  force  of  a  simple  past 
tense  (see  Bennett,  Syntax  of 
Early  Latin  I.  50  ff.). 

184.  Interjections  require 
great  care  in  translation. 
First  determine  the  feeling  ex- 
pressed, and  then  search  for  an 
English  word  that  will  express 
the  idea,  no  matter  what  part  of 
speech  it  may  be.  — hem  denotes 
surprise,  and  may  be  rendered  by 
a  startled  "  oh!  "  or  "  why! " 
eho  expresses  a  peremptory 
mood ;  eho  dum  ad  me  =  "  here 
a  moment."  Frequently  the 
word  may  be  translated  by  an 
imperative.  —  quid  ais  looks  for- 
ward ;  see  on  137. 


190 


88  TERENTI   ANDRIA 

at.     Hoccine  agis  an  non  ?     Da.    Ego  vero  istuc.     Si.    Sed  i< 

nunc  ea  me  exquirere 
Iniqui  patris  est ;    nam  quod  antehac  fecit,  nihil  ad  me 

attinet. 
Dum  tempus  ad  earn  rem  tulit,  sivi  animum  ut  expleret 

suom. 

Nunc  hie  dies  aliam  vitam  adfert,  alios  mores  postulat. 
Dehinc  postulo  sive  aequomst  te  oro,  Dave,  ut  redeat 

iam  in  viam. 
Hoc   quid   sit  ?     Omnes   qui   amant   graviter   sibi    dari  zc 

uxorem  ferunt. 
Da.   Ita  aiunt.     Si.   Turn  si  quis  magistrum  cepit  ad  earn 

rem  inprobum, 


1 86.  hoccine :      hocce    before 
-ne     becomes     hocci-     by     the 
same    process    which    gives    us 
colligo   beside   lego,   reddidi   be- 
side    dedi,     legite     beside     lege, 
undique  beside  unde,  etc.     Hocce 
is  from  *hod  (the  old  neuter  of 
the   stem    ho-,   with    the    same 
case    ending    as    quod)  +  ce.  — 
agis :    ago  in  the  sense  of  '*  at- 
tend  to,    pay   attention  to "    is 
very      common      in      colloquial 
Latin,  especially  with  a  neuter 
pronoun    as    object.     The    use 
of  the  present  indicative  for  the 
future    ("  will    you    attend  ?  ") 
is  another  feature  of  colloquial 
Latin.     Some  scholars,  however, 
understand  agis  as  a  true  pres- 
ent. —  istuc  answers  to  Simo's 
hoccine. 

187.  antehac :    this  is  in  ori- 


gin a  phrase ;  for  ante  was  once 
used  with  the  ablative.  The 
final  e  of  ante  was  therefore 
lost  by  elision,  and  the  whole 
was  pronounced  antac.  For  the 
spelling,  cf.  on  dehinc  (79). 

188.  earn  rem  :  i.e.,  intrigue; 
for  Simo's  point  of  view,  see 
on  145  f.  — ut:  for  the  posi- 
tion, see  on  ut  (160).  Compare 
the  order  of  the  clause  ut  .  .  . 
viam  (190). 

190.  dehinc:     "henceforth." 
For  the   pronunciation,   see  on 
79.  —  sive    =  vel    si.  —  viam : 
"  the  (proper)  path." 

191.  hoc  quid  sit :    Simo  anti- 
cipates    Davos'   Hoc    quid    est? 
throwing    it    into    the    indirect 
form  as  if  after  rogasne.  —  qui : 
for    the     scansion,     see     Intro- 
duction 20. 


ACTUS  II,  SCENA  I 


89 


Da. 


195  St. 


Si. 


:oo 


Ipsum  animum  aegrotum  ad  deteriorem  partem  plerum- 

que  adplicat. 
Non    hercle    intellego.     Si.    Non  ?     Hem.     Da.    Non ; 

Davos  sum,  non  Oedipus. 
Nempe    ergo  aperte  vis  quae  restant  me  loqui  ?     Da. 

Sane  quidem. 

Si  sensero  hodie  quicquam  in  his  te  nuptiis  25 

Fallaciae  conari,  quo  fiant  minus, 
Aut  velle  in  ea  re  ostendi,  quam  sis  callidus, 
Verberibus  caesum  te  in  pistrinum,  Dave,  dedam  usque 

ad  necem, 
Ea  lege  atque  omine,  ut,  si  te  Inde  exemerim,  ego  pro  te 

molam. 
Quid  ?     Hoc   intellextin,    an    non    dum    etiam    ne    hoc3o 

quidem?     Da.    Immocallide; 


193.  ipsum  aegrotum  :         it- 
self sick  with  love." 

194.  hem:   "well!"  — Oedi- 
pus   was    the     first     to     guess 
the     famous      riddle     of      the 
Sphinx. 

196.  hodie:    a  colloquial  in- 
tensive,   often    combined    with 
numquam;   omit    in   the    trans- 
lation. 

197.  quo  minus :    quo  is  com- 
monly used  to  introduce  a  pur- 
pose   clause    which    contains    a 
comparative,   and   the  principle 
holds  here  even  though  minus  is 
equivalent  to  a  strong  negative. 
The    two    words    are    virtually 
equivalent  to  ne. 

199.    pistrinum :   the  labor  of 
turning  the  mill  was  very  severe, 


and  was  often  made  use  of  as  a 
punishment  for  unruly  slaves. 
—  usque  ad  necem  :  "  until  you 
are  dead." 

200.  lege  =  condicione.  —  ut 
molam :    a  volitive  (or  purpose) 
clause  depending  on  lege. 

201.  intellextin     =     intellex- 
isti-ne.        On    the    loss    of    -si- 
in   perfect   forms,   see  on  prae- 
scripsti    (151).        For    the    loss 
of  the   final   short  vowel,   com- 
pare such  pairs  as  neque,    nee; 
hocci(ne),       hoc;     face      (680), 
fac;  animate  (neut.  of  the   ad- 
jective),   animal.  —  non     .     .    . 
quidem :       ne     quidem     always 
strengthens    a    preceding    nega- 
tive   instead    of     canceling    it. 
Note  the  colloquial  piling  up  of 


90  TERENTI   ANDRIA 

Ita  aperte  ipsam  rem  modo  locutu's,  nil  circum  itione 

usus  es. 

Si.     Ubivis  facilius  passus  sim  quam  in  hac  re  me  deludier. 
Da.    Bona  verba,  quaeso.     Si.    Inrides;    nil  me  fallis.     Sed 

dico  tibi : 

205  Ne  temere  facias,  neque  tu  haud  dicas  tibi  non  praedic- 

tum.     Cave.  [Exit  Simo  to  the  right.] 


synonymous  words,  "  Do  you 
still  not  yet  understand  not 
even  this  ?  "  —  immo  means 
"  quite  the  contrary,"  and  either 
reverses  or  strengthens  the  pre- 
ceding statement ;  but  in  order 
to  keep  the  colloquial  tone  it 
is  better  to  weaken  it  here  to 
a  mere  "  yes."  The  traditional 
translation,  "  nay,"  is  a  word 
no  longer  heard  in  familiar 
speech,  and  should  never  be 
used  in  translating  Plautus  and 
Terence. 

202.  ita :     for    the    meaning, 
see  on   173.  —  locutu's    =    lo- 
cutus  es ;   see   on  dictust   (102). 

—  circum :  for  the  adverb  modi- 
fying a  verbal  noun,  cf.  on 
inmemori  (44). 

203.  facilius     here     has     the 
classical  accent,  instead  of  faci- 
lius   which    is    usual    in    early 
Latin ;   see  on   benefici   (44) .  — 
passus  sim  :   "  I  should  allow  "; 
A.  &  G.  447.  3,  B.  280.  2,  Bu: 
777,  G.  600.  2,  H.  &  B.  519.  i, 
H.   552,553.2.  —  deludier:    be- 


sides the  passive  infinitives  in 
-ari,  -eri,  -i,  and  -iri,  early 
Latin  has  a  second  series  of 
forms  with  -er  appended  to 
these  endings.  The  infinitive 
in  -er  was  going  out  of  use  in 
Terence's  day. 

204.  bona     verba,      quaeso : 
even    to    mention    a    calamity 
was    an    evil    omen ;     we    find 
countless     euphemistic     substi- 
tutes for   morior.     Here    Davos 
pretends  to  be  shocked  by  Simo's 
me      deludier,      and      exclaims, 
"  Don't  speak  of  such  a  thing." 
Bona  verba  means,   in   the   lan- 
guage of  ritual,  "  words  of  good 
omen." — inrides;  nil  me  fallis  : 
"  you're  making  fun  of  me ;   I'm 
not  blind  to  that." 

205.  ne    facias :     the    second 
person   singular  of  the   present 
subjunctive    is    used    freely    in 
early   Latin   to   express    a   pro- 
hibition.    Not    infrequently    it 
is  introduced   by   neque  or   nee, 
as  dicas  is  in  this  line.  —  neque 
haud :     haud    and    non,    unlike 


ACTUS  II,  SCENA  II  91- 

DAVOS 

SERVOS 

Da.  Enim  vero,  Dave,  nil  locist  segnitiae  neque  socordiae, 
Quantum  intellexi  modo  senis  sententiam  de  nuptiis. 
Quae  si  non  astu  providentur,  me  aut  erum  pessum 

dabunt. 
Nee    quid    agam    certumst,    Pampilumne    adiutem    an 

auscultem  seni. 
210  Si  ilium  relinquo,  eius  vitae  timeo;    sin  opitulor,  huius  s 

minas, 
Quoi  verba  dare  difficilest.     Primum  iam  de  amore  hoc 

comperit ; 
Me  infensus  servat,  ne  quam  faciam  nuptiis  fallaciam. 

ne   quidem,   cancel   a   preceding  auscultem :     for    the    colloquial 

negative   in   formal   Latin,   and  character  of  frequentatives,  see 

in  Terence,  too,  except  in  this  on  quaeritans  (75). 

one  place.     The  usage  is  about  210.    eius     and      huius      are 

as     harsh     as     English,     "And  monosyllables  in  this  line;    see 

don't  you  never  say."                    .  on    eius    (93).  —  vitae,    minas: 

note    the    different     senses    of 

ACT  II  SCENE  2  dative     and     accusative     after 

timeo. 

206.  enim   vero:       for      the  211.    quoi    =   cui;      for     the 
meaning,   see  on  91.  form,   see   on   quomque   (63).— 

207.  quantum  :    "  so  far  as."  verba    dare  :     "  to  give  words  " 

208.  astu  :     early    Latin    for  instead  of  deeds ;   translate  "  to 
astutia. — me  aut :  for  the  scan-  bunco."  —  primum,     "in     the 
sion,    see    Introduction    20.  -  first  place,"  is   balanced    by  ad 
erum:    Pampilus.  —  pessum  da-  haec  mala  (215). 

bunt:    "will    ruin."      The   ety-  212.    nuptiis:     for  the  dative 

mology    and    original    meaning  after  fallaciam  facere,  see  A.  & 

of  pessum  are  unknown.  G.  367  a  Note  2,  G.  345,  H.  & 

209.  certumst:   sc.mihi;  "I  8.362;   compare  Plautus,  Miles 
have     decided."             adiutem,  164,  legi  fraudem  faciant.     This 


.92  TERENTI   AXDRIA 

Si  senserit,  perii;    aut  si  lubitum  fuerit,  causam  ceperit, 

Quo  iure  quaque  iniuna  praecipitem  in  pistnnum  dabit. 
215  Ad  haec  mala  hoc  mi  accedit  etiam  :   haec  Andria, 

Si  ista  uxor  sive  amicast,  gravida  e  Pampilost. 

Audireque  eorumst  operae  pretium  audaciam ; 

Nam  inceptiost  amentium,  haud  amantium. 

Quidquid  peperisset,  decreverunt  tollere. 
220          Et  fingunt  quandam  inter  se  nunc  fallaciam, 


is  the  same  dative  that  follows 
male  facere,  etc. 

213.  perii :     a   very   common 
bit  of  slang,  "  I'm  done  for." 
ceperit :      in    early     Latin     the 
future     perfect    often     has     its 
original     force     of     a     slightly 
emphatic   future;   see    Bennett, 
Syntax  of  Early  Latin  I.  54  ff. 
Compare  the  use  of  the  pluper- 
fect   as    a    simple    past    tense, 
which     we     have     noticed     in 
•provider am  (183). 

214.  quo  iure  quaque  iniuria  : 
the  antecedent  of  quo  and  qua  is 
causam,    "  according    to   which 
justice   and   (it    may   be)  injus- 
tice " ;       translate      "  and     so, 
justly    or    unjustly." 

217.  eorum :  for  the  short- 
ening of  the  penult  by  the  iam- 
bic law,  see  Introduction  19 
end.  — operae  pretium  :  "  worth 
while." 

219.  quidquid:  for  the  neu- 
ter referring  to  a  person,  see 
on  nil  (120).  —  peperisset :  sub- 


junctive in  a  subordinate 
clause  in  informal  indirect  dis- 
course. —  tollere  :  it  lay  within 
the  father's  discretion  to  have 
a  new-born  babe  exposed,  as 
Pataecus  did  in  Menander's 
Periceiromene  (Introduction  5), 
and  in  the  present  case  Davos 
thinks  that  any  sane  father 
would  make  away  with  the 
child.  If  on  the  other  hand 
the  father  decided  to  rear  the 
infant  he  lifted  it  in  his  arms, 
and  so  the  verb  tollo  came 
to  mean  "  acknowledge "  or 
"  rear." 

220  ff.  As  the  sequel  shows, 
Glucerium  and  Pampilus  know 
that  the  story  is  actually  true, 
although  they  are  not  in  a  posi- 
tion to  prove  it.  Davos,  how- 
ever, is  in  the  habit  of  getting 
out  of  difficulties  per  fallaciam, 
and  he  suspects  them  of  at- 
tempting the  same  thing. 

220.  inter  se  :  for  the  accent, 
see  on  apud  me  (36). 


ACTUS  II,  SCENA  II 


93 


Civem   Atticam   esse   hanc.     'Fuit   olim   hinc  quidam 

senex 

Mercator.     Navem  is  fregit  apud  Andrum  insulam; 
Is  obiit  mortem.'     Ibi  turn  hanc  eiectam  Crusidis 
Patrem  recepisse  orbam,  parvam.     Fabulae  { 
Mihi   quidem   hercle   non   fit   veri   simile ;    atque  ipsis  20 

commentum  placet. 
[Musis  appears  at  the  door  of  Glucerium's  house.] 

Sed  Musis  ab  ea  egreditur.     At  ego  hinc  me  ad  forum, 

ut 
Conveniam  Pampilum,  ne  de  hac  re  pater  inprudentem 

opprimat.  [Exit  right.] 


221.  civem      Atticam      esse 
hanc  :  there  was  a  law  in  Athens 
that  the  seducer  of  a  respecta- 
ble   girl    of    the    citizen     class 
must  marry  her.  —  olim  :   "  once 
on    a     time."     -  hinc,     "  from 
here,"  is  virtually  equivalent  to 
Atticus ;     translate      "  of     this 
city." 

222.  navem  is  fregit  is  a  less 
exact    expression    for    navis    ei 
fracta  est. 

223.  The   repetition   of  is    is 
characteristic  of  colloquial  style. 
—  obiit    mortem :      in    Andros, 
some  time  after  the  shipwreck. 

224.  fabulae  :  "  fairy  tales  !  " 

225.  atque  frequently  occurs 
in    early    Latin    in    the    proper 


etymological  sense  of  at-que, 
"  and  on  the  other  hand,  and 
yet,"  l  a  meaning  that  was  later 
confined  to  atqui.  For  the  lat- 
ter, see  on  qui  (53). 

226.  ab  ea :  "  from  her 
(Glucerium's)  house  "  ;  cf.  apud 
me,  "  at  my  house,"  ad  me, 
"to  my  house."-— me:  sc. 
conferam;  the  ellipsis  is  collo- 
quial. —  forum  in  Terence  is 
a  translation  of  Greek  dyopa, 
and  must  be  rendered  into  Eng- 
lish by  "  market  ";  the  English 
word  "forum"  inevitably  sug- 
gests the  Forum  Romanum. 

226  f.  ut  conveniam  Pam- 
pilum :  for  the  order,  see  on  ut 
(160). 


1  Many  scholars  reject  this  obvious  etymology  .of  atque  on  account  of 
the  common  meaning.  Perhaps  the  word  combines  original  at-que  and 
ad-que. 


94 


TKRKNTI   ANDRIA 


Musis 

ANCILLA 

[Calls  through  the  door  to  an  older  woman  within.} 

Audivi,  Arculis,   iam   dudum  :    Lesbiam   adduci   iubes. 
Sane  pol  ilia  temulentast  mulier  et  temeraria 
230          Nee  satis  digna,  quoi  committas  primo  partu  mulierem. 
Tamen  earn  adducam.     [Closes  the  door,  and  soliloquizes.] 

Inportunitatem  spectate  aniculae, 

Quia  compotrix  eius  est.     Di,  date  facilitatem  obsecro  s 
Huic  pariundi  atque  illi  in  aliis  potius  peccandi  locum. 
[Sees  Pampilus  approaching.} 

Sed  quid  nam  Pampilum  exanimatum  video  ?     Vereor 

quid  siet. 

235  Opperiar,  ut  sciam  num  quid  nam  haec  turba  tristitiae 

adferat.  [Withdraws  to  the  rear  of  the  stage.] 


ACT  II  SCENE  3 

228  ff.  For  the  trochaic  septe- 
narii,  see  Introduction  24  and  25. 

228.  Arculis  :  the  classical 
form  would  be  Archylis  (Gk. 


229.  p61  flla  :  for  the  scan- 
sion, see  Introduction  19.  — 
temulenta  :  this  epithet  pre- 
pares the  way  for  compotrix 
(232),  and  thus  provides  a 
motive  for  Arculis'  insisting 
that  Lesbia  be  employed.  It 
appears,  however,  that  Lesbia 
is  not  in  her  cups  this  morning. 
The  second  epithet,  temeraria, 
is  amply  justified  by  the  mid- 
wife's behavior-when  she  arrives. 

231.    aniculae:     the    diminu- 


tive    expresses     contempt,     as 
diminutives  often  do. 

233.  pariundi :  -und-  for  -end- 
in  the  gerund  and  gerundive  of 
the   third   and   fourth    conjuga- 
tions is  more  common  in  early 
than   in   classical  Latin.     Prob- 
ably  u  was  the  original  vowel, 
while  e  was  brought  in  by  the 
influence  of  the   present  active 
participle.  —  aliis  is  feminine. 

234.  exanimatum :    "  out    of 
breath."  —  siet :      in      addition 
to    the    classical    forms    of   the 
present     subjunctive     of    sum, 
early  Latin  had  also  the  longer 
forms    siem,    sies,    sift,    siemus, 
sietis,    sient.     They   were  going 
out  of  use  in  Terence's  day. 

235.  turba:    "agitation." 


ACTUS  II,  SCENA  IV  95 

PAMPILUS  Musis 

ADULESCENS  ANCILLA 

[Enter  Pampilus,  much  agitated,  from  the  right.     He  doesn't 
see  Musis-.} 
Pa.    Hoccinest  humanum  factum  aut  inceptum  ?    Hoccinest 

officium  patris  ? 
Mu.  [Aside.}     Quid  illud  est  ?     Pa.    Pro  deum  fidem,  quid 

est,  si  haec  non  contumeliast  ? 

Uxorem  decrerat  dare  sese  mi  hodie.     Nonne  oportuit 
Praescisse    me    ante  ?     Nonne    prius    communicatum 

oportuit  ? 
240  Mu.  [Aside.}     Miseram  me,  quod  verbum  audio  ! 

Pa.   Quid  ?     Cremes,  qui  denegarat  se  commissurum  mihi 
Gnatam  suam  uxorem,  id  mutavit,  quom  me  inmutatum 

videt  ? 
Itan  obstinate  operam  dat,  ut  me  a  Glucerio  miserum 

abstrahat  ? 
Quod  si  fit,  pereo  funditus. 

ACT  II   SCENE  4  is    used    wi<h    the    vocative.  - 

quid    est    shows    the    effect    of 

Pampilus  has  seen  his  father  the  iambic  law. 

in   the   market   and   knows   the  239.    praescisse:    the  perfect 

worst.     For   the    rapidly    shift-  infinitive    with    oportuit    is    un- 

ing    meters,    see    the    Table    in  usual.  —  praescisse    ante :    the 

Introduction  29.  pleonasm  is  colloquial. 

236.  hoccinest :    for  the  ety-  242.    id :     i.e.,    his    intention, 
mology  and  meaning  of  hoccine,  The    word    sums    up    the    prc- 
see    on     186.     We    must    read  ceding  clause. — quom  ...videt: 
est  as  a  short  syllable  (see  In-  the  clause  is  adversative.    In  all 
troduction  19  end).  its  meanings  quom  usually  takes 

237.  pro    is    an    interjection  the  indicative  in  early  Latin, 
without    influence    on    the    case  244.    fit,    pereo :         colloquial 
of  fidem,  which  is  an  accusative  present    for    future;      cf.    agis 
of  exclamation.     Sometimes  pro  (186). 


TEREXTI   ANDRIA 


245  Adeem  hominem  esse  invenustum  aut  infelicem  quern- 10 

quam,  ut  ego  sum  ! 

Pro  deum  atque  hominum  hdem  !  •> 

Nullon  ego  Cremetis  pacto  adfinitatem  effugere  potero  ? 
Quot    modis    contemptus,    spretus !     Facta,    transacta 

omnia.     Hem, 
Repudiatus  repetor.     Quam  6b   rem  ?     Nisi  si  id  est, 

quod  suspicor : 

250          Aliquid    monstri    alunt;     ea    quoniam    nemini    obtrudiis 
potest, 


245.  adeon  =  adeo-ne ;  for 
the  loss  of  the  final  short  vowel, 
see  on  intellextin  (201).  —  adeon 
hominem  esse:  for  the  infinitive 
in  exclamations,  see  A.  &  G.  462, 
B.  334,  Bu.  961,  G.  534,  H.  & 
B.  596,  H.  616.  3,  L.  &  M.  976. 
—  invenustum  :  "  unlovely,  un- 
attractive." One  might  think 
his  trouble  was  quite  the  re- 
verse ;  he  has  proved  too  at- 
tractive to  Cremes.  But  Pam- 
pilus  is  in  no  mood  for  clear 
thinking;  he  uses  the  ordinary 
phrases  of  disconsolate  lovers, 
whether  they  fit  the  present 
case  or  not.1 

247.  Cremetis :  the  genitive 
of  Cremes  is  Cremi  in  line  368. 
The  accusative  varies  between 


Cremetem  (472)  and  Cremem 
(361),  and  the  vocative  be- 
tween Cremes  (538)  and  Creme 
(550). 

248.  hem :     "  all    at    once." 
See  on   184. 

249  ff.  Evidently  Pampilus  has 
never  seen  Cremes'  daughter; 
see  on  dfspondi  (102). 

249.  nisi  si :  this  pleonasm  is 
rare  in  formal  prose,  but  com- 
mon  in   colloquial    Latin.     The 
clause    depends    upon    a    nescio 
which  is  implied  as  the  answer 
to  the  question  Quam  ob  rem? 

250.  aliquid    monstri     =    ali- 
quod     monstrum;    the  partitive 
genitive  depending  upon  a  neu- 
ter pronoun  is  very  common  in 
Terence. 


1  Muretus'  way  out  of  the  difficulty,  invenusti  dicebantur  quibus  Venus 
in  amoribus  non  faveret,  gets  no  support  from  Donatus'  gloss,  sine  venere,  id 
est  sine  gratia;  for  that  gives  simply  the  ordinary  meaning  of  the  word 
venus.  Donatus'  second  explanation,  cui  displicens  obicitur,  is  manifestly 
ad  hoc. 


97 


Itur  ad  me.     Mu.    [Aside.]     Oratio  haec  me  miseram 

exanimavit  metu. 
Pa.    Nam  quid  ego  dicam  de  patre  ?     Ah, 

Tantamne    rem    tarn    neclegenter    agere !      Praeteriens 

modo 
Mihi  apud  forum  'uxor  tibi  ducendast,  Pampile,  hodie' 

inquit,  'para, 
Abi  domum.'     Id  mihi  visust  dicere  'abi  cito  ac  sus-ao 

pende  te.' 
Obstipui.     Censen  me  verbum  potuisse  ullum  proloqui, 

aut 
Ullam     causam,     ineptam     saltern     falsam     iniquam  ? 

Obmutui. 
Quod  si  ego  rescissem  id  prius,  quid  facerem,  si  quis  me 

roget, 
Aliquid   facerem,   ut  hoc  ne  facerem.     Sed  nunc  quid 


primum  exsequar 


253.  agere :  sc.  eum.  For 
the  infinitive,  see  on  adeon  ho- 
minem  esse  (245). 

256.  obstipui :     consult      the 
dictionary  under  obstupesco.   For 
the  variation  between  u  and  i, 
see  on  lacrumae  (126).  —  censen 
=  censes-ne.     Before    n,  s   was 
regularly    lost,    as   in   dinumero 
from  dis-numero.     For  the    loss 
of  the  final  short  vowel,  see  on 
intellextin  (201). 

257.  saltern  with   a  negative 
is  equivalent  to  ne  .  .  .  quidem. 
Here  the  negative  is  implied  in 
the  question ;    translate   saltern 
by  "  even." 

258.  quod :      accusative        of 

TER.    ANDRIA 7 


respect,  "  as  to  which "  (cf. 
id,  162) ;  translate  "  but." 
Before  si  this  use  of  quod  is 
Ciceronian.  —  ego  here  shows 
the  original  quantity  of  the  ul- 
tima. See  Introduction  p.  53. 
—  quid  facerem  :  a  conclusion 
contrary  to  fact  in  an  indirect 
question  after  roget. 

259.  aliquid  facerem  is  the 
reply  which  Pampilus  imag- 
ines himself  as  giving  to  the 
hypothetical  inquiry  of  the  last 
line.  It  is,  then,  virtually  the 
conclusion  to  si  rescissem 
(258).  Pampilus'  complete 
lack  of  initiative  and  his  readi- 
ness to  take  the  most  foolhardy 


98- 


TERENTI  ANDRIA 


260          Tot  me  inpediunt  curae,  quae  meum  animum  divorsae  25 

trahunt, 

Amor,  misericordia  huius,  nuptiarum  sollicitatio, 
Turn  patris  pudor,  qui  me  tarn  leni  passus  est  animo 

usque  adhuc 
Quae  meo  quomque  animo  luhitumst  facere.     Eine  ego 

ut  advorser  ?     Ei  mihi  ! 
Incertumst  quid   agam.     Mu.    [Aside.]     Misera  timeo, 

'incertumst'  hoc  quorsum  accidat. 
265  Sed  nunc  peropust  aut  hunc  cum  ipsa  aut  de  ilia  aliquicl  >,o 

me  advorsum  hunc  loqui. 
Dum  in  dubiost  animus,  paulo  momento  hue  vel  illuc 

inpellitur. 


advice  are  characteristics  which 
these  comedies  usually  ascribe 
to  a  young  man  in  love.  Un- 
der ordinary  circumstances 
Pampilus  may  have  been  as 
intelligent  as  he  was  affable 
toward  his  friends  and  dutiful 
toward  his  father. 

261.  huius:          feminine.    - 
nuptiarum  is  an  objective  geni- 
tive;    translate       "about    the 
marriage." 

262.  patris       pudor       means 
"  shame  '  before     my     father," 
i.e.,  fear  to  let  him  find  me  at 
fault.     A    more    idiomatic    but 
somewhat  less  exact  translation 
is    "  respect    for    my    father." 
Such    an    objective    genitive    is 
common  after  pudor.     Scan  pa- 
tris ;    cf.  on  veritus  (582). 

263.  quomque       is       to       be 


construed  with  quae.  —  lubi- 
tum :  the  classical  form  is 
libitum.  For  the  spelling,  see 
on  lacrumae  (126).  eine 

ego  ut  advorser :  for  the  sub- 
junctive in  an  exclamatory  ques- 
tion, see  A.  &  G.  462  a,  B.  277, 
Bu.  771,  772,  G.  558,  H.  &  B. 
503  b,  H.  559.  5,  L.  &  M.  723, 
724. 

265.  peropust :      a    fondness 
for  the  intensive  per  is  a  feature 
of    colloquial     Latin     which     is 
particularly   prominent   in  Ter- 
ence and  in  Cicero's  letters.  — 
ipsa :     in   slaves'    language   ipse 
often     means     "  the     master " 
and    ipsa,    "  the     mistress."  - 
advorsum    hunc :      "  to     him." 
Cf.  advorsum  (42). 

266.  vel   illuc :   for  the  scan- 
sion, see  Introduction   19. 


ACTUS  II,  SCENA  IV 


99 


Pa.    [Hearing    Musis.]     Quis    hie    loquitur?     Musis,    salue. 

Mu.    [Coming  forward.}     O    salue,    Pampile.     Pa. 

Quid  agit  ?     Mu.    Rogas  ? 

Laborat  e  dolore,  atque  ex  hoc  misera  sollicitast  die, 
Quia   olim    in    hunc    sunt    constitutae    nuptiae.     Turn 

autem  hoc  timet, 

Ne  deseras  se.     Pa.    Egone  istuc  conari  queam  ?  35 

Egon  propter  me  illam  decipi  miseram  sinam, 
Quae  mihi  suom  animum  atque  omnem  vitam  credidit, 
Quam  ego  animo  egregie  caram  pro  uxore  habuerim  ? 
Bene  et  pudice  eius  doctum  atque  eductum  sinam 
Coactum  egestate  ingenium  inmutarier  ?  40 

Non  faciam.  Mu.  Haud  vereor,  si  in  te  sit  solo  situm ; 
Sed  vim  ut  queas  ferre.  Pa.  Adeon  me  ignavom  putas, 
Adeon  porro  ingratum  aut  inhumanum  aut  ferum, 


267.  O     expresses     emotion, 
as   in   282   below   and   often   in 
English.  — quid    agit:    "  how  is 
she  ?  " 

268.  dolore  :  "  pain,"  i.e.,  the 
pangs  of  childbirth. 

268  ff.  Glucerium  had  of 
course  heard  of  Cremes'  with- 
drawal of  his  consent  to  the 
marriage.  That  she  is  still 
anxious  about  the  matter  is  due 
to  her  '  woman's  intuition  '  or, 
if  one  prefers,  '  woman's  unrea- 
sonab'eness.' 

269.  turn   autem :    "  then   be- 
sides." 

270.  ne    deseras    se :         for 
the    order,  see   on    ut  (160).  — 
egone    .    .    .    queam  :     for    the 
exclamatory  question,  see  on  263 . 


271.  me  illam:  for  the  scan- 
sion, see  Introduction  20. 

272  f.  credidit,  habuerim  : 
both  clauses  are  causal  (the 
rhetorical  question  of  the  main 
clause  =  "  I  shall  not  permit"). 
For  a  similar  variation  of  mood, 
cf.  Terence,  Eun.  302  f.,  Ut 
ilium  di  perdant,  qui  me  re- 
moratus  est;  meque  adeo,  qui 
restiterim. 

274.  eius  is  a  monosyllable; 
see  on  93. 

275.  inmutarier :          for    the 
form,  see  on  deludier  (203). 

277.  ut :  supply  vereor  from 
haud  vereor  in  the  preceding  line. 
The  important  word  vim  stands 
first  in  the  clause;  cf.  on  ut 
(160). 


IOO 


TEREXTI   AXDRIA 


Ut  neque  me  consuetude  neque  amor  neque  pudor 
280          Commoveat  neque  commoneat,  ut  servem  fidem  ?  45 

Mu.  Unum  hoc  scio,  hanc  meritam  esse,  ut  memor  esses  sui. 
Pa.    Memor  essem  ?     O  Musis,  Musis,  etiam  nunc  mihi 

Scripta  ilia  dicta  sunt  in  animo  Crusidis 

De  Glucerio.     lam  ferme  moriens  me  vocat. 
285  Accessi ;   vos  semotae ;   nos  soli.     Incipit  50 

'Mi  Pampile,  huius  formam  atque  aetatem  vides, 

Nee  clam  te  est,  quam  illi  nunc  utraeque  inutiles 

Et  ad  pudicitiam  et  ad  rem  tutandam  sient. 

Quod  per  ego  te  dextram  hanc  oro  et  genium  tuom, 
290  Per  tuam  fidem  perque  huius  solitudinem 

Te  obtestor,  ne  abs  te  hanc  segreges  neu  deseras. 

Si  te  in  germani  fratris  dilexi  loco 

Sive  haec  te  solum  semper  fecit  maxumi 

Seu  tibi  morigera  fuit  in  rebus  omnibus, 


55 


279.  pudor  denotes  the  feel- 
ing of  one  who  is  ashamed 
of  having  done  wrong,  i.e., 
"  shame,"  or,  as  here  and  com- 
monly, the  feeling  of  one  who 
is  ashamed  to  do  wrong,  i.e., 
"  honor."  Cf.  on  patris  pudor 
(262). 

282.  essem    is    an    echo    of 
Musis'  esses.  --  etiam  is  tem- 
poral, "  still,"  but  English  idiom 
requires  us  to  say  "  even  "  before 
"  now." 

283.  sunt :      with    scripta.  — 
Crusidis :   with  dicta. 

285.  vos :  i.e.,  you  and  the 
other  slave  women ;  of  course 
Glucerium  would  remain  at 
such  a  time. 


287.  te :     clam    governs    the 
accusative     in     early    Latin.  — 
quam:  with   inutiles. 

288.  pudicitiam  has  its  second 
syllable  shortened  by  the  iambic 
law;    see    Introduction     19.  — 
rem  :   "  property."  •—  sient :  for 
the  form,  see  on  siet  (234). 

289.  quod  :    accusative  of  re- 
spect (cf.  quod,  258,  and  id,  162) ; 
translate       "  wherefore."  —  per 
ego  te  dextram  oro :    this  is  the 
regular  order.     It  occurs  also  in 
538    and    834. — genium:     rlu 
guardian    deity  who   was    born 
with  each  person  and  who  died 
with  him. 

294.    morigera  =  quae  morem 
gerit.         Early    Latin    employs 


ACTUS  II,  SCENA  IV 


101 


>0 


Te  isti  virum  do,  amicum,  tutorem,  patrem;  60 

Bona  nostra  haec  tibi  permitto  et  tuae  mando  fide.' 
Hanc  mi  in  manum  dat;   mors  continue  ipsam  occupat. 
Accepi;    acceptam  servabo.     Mu.   Ita  spero  quidem. 
Pa.    Sed   cur  tu   abis   ab   ilia  ?     Mu.    Obstetricem   accerso. 

Pa.    Propera.     Atque  audin  ? 

Verbum   unum   cave  de    nuptiis,  ne    ad    morbum    hoc  65 
etiam  .  .  .  Mu.    Teneo.      [Exeunt,   Musis 
right,  Pampilus  into  Glucerium's  house.} 


more  compounds  than  the  later 
language. 

295.  virum  :"  husband."   The 
word  is  to  be   taken    in  a    fig- 
urative sense  just  as  patrem  is.  — 
tutorem :    "  guardian." 

296.  tuae    owes  its  short  ul- 
tima    to     the     iambic     law.  — 
fide :    in  early  Latin    the    geni- 
tive and  the  dative  singular  of 
the   fifth   declension   often    had 
monosyllabic     endings  —  prob- 
ably diphthongal  -ei  in  the  geni- 
tive and  -e  in  the  dative. 

297.  hanc  mi  in  manum  dat : 
"  put  her  hand  in  mine."  * 


299.  ab  ilia  is  shortened  by 
the     iambic      law.  —  audin  = 
audisne ;  for  the    loss  of   s  and 
e,  see   on    censen    (256).     Such 
forms    as   these   are   colloquial. 
The  question  is  equivalent  to  a 
command;     "do    you    hear?" 
=  "  listen." 

300.  cave  :    sc.  dicas ;    trans- 
late "not  a  word." — -ad  morbum : 
English    word  order  requires    a 
verb  if  we  are  to  translate  the 
prepositional    phrase;    cf.    non 
tu  ibi  gnatum  .  .  .  (149).  —  hoc 
etiam:  "this  too."  —  teneo:  "I 
understand." 


1  Since  all  this  happened  in  Athens,  manus  cannot  mean  "possession, 
control "  as  it  does  in  Roman  law.  Even  if  we  assume  that  Terence  has 
here  deserted  his  original  and  is  thinking  of  Roman  customs,  Crusis  could 
not  have  given  Pampilus  manus  over  Glucerium. 


ACTUS   III 


CARINUS 
ADULESCENS 


BURRIA 
SERVOS 


PAMPILUS 
ADULESCENS 


[Enter  Carinus  and  his  slave  Burria,  engaged  in  conversation.] 
Ca.    Quid  ais,  Burria  ?     Daturne  ilia  Pampilo  hodie  nuptum  ? 

Bu.    Sic  est. 
Ca.    Qui  scis  ?     Bu.    Apud  forum  modo  e  Davo  audivi.     Ca. 

Vae  misero  mihi  ! 
Ut  animus  in  spe  atque  in  timore  usque  antehac  attentus 

fuit, 
Ita,  postquam  adempta  spes  est,  lassus  cura  confectus 

stupet. 

305  Bu.  Quaeso   edepol,    Carine,    quoniam   non    potest   id    fieri 
quod  vis, 


ACT  III  SCENE  i 

301.  quid    ais:     the    phrase 
refers  to  something  Burria  has 
said  before  they  got  within  hear- 
ing;   see    on    quid    ais     (137). 

—  Burria :  the  classical  form 
would  be  Pyrrhias  (Gk.  ITupptas) ; 
cf.  Ennius'  Burrus  for  Pyrrhus. 
Scan  Biirrl\a  datur\ne.1  —  nup- 
tum :  supine. 

302.  qui :  for  form  and  mean- 
ing, see  on  53.  —  m6do  e  Davo  : 


the  preposition  is  shortened  by 
the  iambic  law. 

303.  antehac :  for  the  pro- 
nunciation, see  on  187.  —  atten- 
tus :  "  under  a  strain." 

305.  edepol :  a  common  oath. 
It  is  supposed  to  represent  e  de 
Pol,  "O  god  Pollux,"  but  the 
etymology  is  far  from  certain. 
In  translating  it  is  better  to  omit 
ancient  oaths,  since  really  equiv- 
alent English  could  not  be  used 
in  the  classroom.  —  Carine  :  the 


1  Klotz,  Altromische  Metrik  267,  scans  |  L 
final  vowel  of  Burria  as  long. 

102 


Others  regard  the 


ACTUS  III,  SCENA  I 


103 


Id  velis  quod  possit.     Ca.    Nil  volo  aliud  nisi  Pilume- 

nam.     Bu.   Ah, 
Quanto  satiust  te  id  dare  operam,  qui  istum  amorem  ex 

animo  amoveas, 

Quam  id  loqui,  quo  magis  lubido  frustra  incendatur  tua  ! 
Ca.    Facile   omnes,   quom   valemus,   recta  consilia   aegrotis 
'       damus. 
Tu  si  hie  sis,  aliter  sentias.     Bu.    Age  age,  ut  lubet.  10 

[Pampilus  appears  at  the  door  of  Gluceriums  house, 

and  stands  there  talking  to  some  one  within.]     Ca. 

Sed  Pampilum 
Video.     Omnia    experiri    certumst    prius    quam    pereb. 

Bu.    [Aside.]     Quid  hie  agit  ? 
Ca.    Ipsum    hunc    orabo,    huic    supplicabo,    amorem    huic 

narrabo  meum. 


classical  form  would  be  Charinus 
(Gk.  Xaptvos). 

306.  velis  is  a  volitive  (or 
purpose)  subjunctive  depending 
upon  quaeso  in  the  previous  line 
just  as  fully  as  if  it  were  formally 
introduced  by  ut.  —  Pilumenam  : 
Cremes'  daughter.  The  classical 
form  would  be  Philumena  (Gk. 


307.  satiust  :  for  the  form, 
see  on  dictust  (102).  —  id:  for 
the  case,  see  on  id  (157).  —  qui  : 
for  the  form,  see  on  53.  As  a 
final  particle  qui  may  introduce 
any  purpose  clause,  while  quo 
does  not  commonly  introduce  a 
purpose  clause  unless  the  clause 
contains  a  comparative  or  some 
equivalent  expression. 


308.  quo :  ablative  of  the 
relative  pronoun  introducing  a 
characterizing  clause ;  contrast 
the  final  particle  qui  in  307. 

310.  hie  =  ego.     Others  con- 
sider hie  an  adverb,  "  here,  in 
my    place."  —  sis,    sentias :    in 
early  Latin,  conditions  and  con- 
clusions   contrary    to    fact    are 
often  put  in  the  present  subjunc- 
tive; see  A.  &  G.  517  e  Note  2, 
Bu.  925,  H.  &  B.  581  d,  H.  579. 
I     Footnote.  —  lubet :     usually 
spelled  libet  in  classical  Latin. 
For  the  variation  between  u  arid 
i,  see  on  lacrumae  (126). 

311.  quid  hie  agit :    "What's 
he     up     to  ?  "     Burria,     unlike 
Davos,  is  quite  indifferent  to  his 
master's  love  affair. 


IO4 


TERENTI   ANDRIA 


ni  r  is 


Credo  impetrabo,  ut  aliquot  saltern  nuptiis  prodat  dies. 
Interea  fiet  aliquid,   spero.     Bu.    [Aside.]   Id   'aliquid' 

nil  est.     Ca.    Burria, 
315  Quid   tibi   videtur  ?     Adeon   ad   eum  ?     Bu.   Quid   ni  ? 

Si  nil  impetres, 

Ut  te  arbitretur  sibi  paratum  moecum,  si  illam  duxerit. 
Ca.   Abin  hinc  in  malam  rem  cum  suspicione  istac,  scelus  ? 

[Pampilus  closes  the  door,  and  approaches  Carinus.] 
Pa.    Carinum  video.     Salue.     Ca.    O  salue,  Pampile ; 

Ad     te     advenio    spem     salutem     auxilium    consilium 

expetens. 
3 20  Pa.    Neque    pol    consili    locum    habeo    neque    ad    auxilium  20 

copiam. 

Sed    istuc    quid    namst  ?     Ca.    Hodie    uxorem    ducis  ? 
Pa.    Aiunt.     Ca.    Pampile, 


313.  credo:  parenthetical.— 
aliquot  dies  =  aliquot  dierum 
moram.  —  nuptiis  is  dative. 

315.  adeon  =  adeo-ne.      The 
present  indicative  is  frequently 
used  in  early  Latin  for  the  delib- 
erative subjunctive.  —  quid  ni : 
sc.  adeas,  since  quid  ni  is  always 
followed    by   a    "  should  "    sub- 
junctive   (see    on    quid   credas, 
499).     In    this     phrase     ni     is 
equivalent  to  non,  as  it  is  also 
in  nimirum.     Translate   "  Why 
shouldn't  you  ?  " 

316.  moecum:     consult    the 
dictionary    under    the    classical 
form,     moechus     (Gk.     /xoixos). 

—  duxerit  is  the  common  word 
for  "  marry  "  (of  the  man).  In 
formal  prose  fuller  expressions 


are  used,  in  matrimonium  ducere 
or  domum  ducere. 

317.  abin  =  abis-ne.     For  the 
form,  see  on  censen  (256) ;    for 
the     meaning,     see     on     audin 
(299).     The    word    is    properly 
an     iambus,      but     is     usually 
shortened,  as  here,  by  the  iam- 
bic law.  —  malam  rem,  "  the  mis- 
chief," was  felt  as  a  single  word, 
and    regularly  accented   on   the 
penult.  —  scelus,  "  scoundrel," 
is  perhaps  a  little  stronger  than 
scelestus. 

318.  O :     for    the    emotional 
force  of  the  interjection,  see  on 
267. 

321.  istuc:  your  translation 
must  bring  out  the  personal  force 
of  the  pronoun. 


ACTUS  HI,  SCENA  I 


Si  id  facis,  hodie  postremum  me  vides.     Pa.   Quid  ita  ? 

Ca.    Ei  mihi, 
Vereor  dicere.      Huic   die   quaeso,    Burria.      Bu.    Ego 

dicam  ?     Pa.   Quid  est  ? 
Bu.    Sponsam  hie  tuam  amat.     Pa.    Ne  iste  baud  mecum 

sentit.     Eho  dum  die  mihi : 
Num  quid  nam  amplius  tibi  cum  ilia  fuit,  Carine  ?     Ca.  25 

Ah,  Pampile, 
Nil.     Pa.   Quam  vellem  !     Ca.   Nunc  te  per  amicitiam 

et  per  amorem  obsecro, 
Principio   ut   ne   ducas.     Pa.    Dabo   equidem   operam. 

Ca.    Sed  si  id  non  potest 

Aut    tibi   nuptiae   hae   sunt   cordi,    .    .    .      Pa.    [Indig- 
nantly.]    Cordi  ?     Ca.  .  .  .  saltern  aliquot  dies 


322.  facis  here  has  the  long 
I  of  the  fourth  conjugation, 
according  to  which  most  -io 
verbs  were  originally  conjugated. 
The  shift  of  some  of  them  to  the 
third  conjugation  began  with  the 
shortening  of  iambic  forms  like 
/dels  and  cdpls.  That  is  the 
reason  why  all  -io  verbs  of  the 
third  conjugation  have  the  first 
syllable  short.  Even  in  these 
words,  all  forms  which  show 
a  short  stem  vowel  (i)  in  the 
fourth  conjugation  remained  un- 
changed (capiunt  =  audiunt,  ca- 
piebam  =  audiebam,  capiam  = 
audiam,  etc.).  --  postremum: 
"  for  the  last  time  "  ;  cf.  primum 
(156).  —  ei  is  little  more  than  a 
lover's  sigh,  "  ah." 

324.    ne,   "  really,"  is  always 


followed  by  a  pronoun.  —  eho : 
for  the  meaning,  see  on  184. 

326.  vellem :    the  tense  indi- 
cates that  the  wish  cannot  be 
fulfilled,  just  as  in   the  equiva- 
lent    utinam     esset    or     utinam 
fuisset;   see  A.  &  G.  442  b,  B. 
280.  4,  Bu.  776,  G.  261  Remark, 
H.  &    B.  519.    i  c,  H.   558.   4, 
L.  &  M.  721. 

327.  principio :    "  in  the  first 
place."      -  equidem    =   quidem, 
not     ego     quidem.  potest : 
"  is      possible " ;      in      classical 
Latin    fieri    would     have    been 
added. 

328.  cordi  :      for     the     case, 
see   A.    &   G.    382,   B.   191,  Bu. 
484,  G.    356,   H.  &  B:  360,   H. 
433.  —  dies:    for   the   case,    cf. 
313. 


io6 


TEREXTI    AXDRIA 


Prefer,  dum  proficiscor  aliquo,  ne  videam.     Pa.    Audi 

nunciam  : 

33°  Ego,  Carine,  ne  utiquam  officium  liberi  esse  hominis  puto,  30 

Quom  is  nil  mereat,  postulare  id  gratiae  apponi  sibi. 
Nuptias  effugere  ego  istas  malo  quam  tu  adipiscier. 
Ca.    Reddidisti   animum.     Pa.    Nunc  si  quid  potes  aut   tu 

aut  hie  Burria, 
Facite  fingite  invenite  efFicite,  qui  detur  tibi. 

id  agam,  mihi  qui  ne  detur.     Ca.    Sat  habeo.     Pa.  35 

Davom  optume 
Video,   quoius   consilio   fretus   sum.     Ca.    [To   Burria.] 

At  tu  hercle  baud  quicquam  mihi, 
Nisi  ea  quae  nil  opus  sunt  scire.     Fugin  hinc  ?     Bu. 

Ego  vero  ac  lubens.  [Exit.] 


329.  proficiscor  :  for  the  mood 
and  tense,  see  A.  &  G.  553  Note 
2,  Bu.  882,  G.  571,  H.  &  B.  571, 
H.  603  II  i. 

330.  ne  utiquam  became  one 
word    (with  diphthongal  eii)   in 
classical  Latin,  and  will  be  found 
in  the  dictionary  in  that  form. 
Ne  =  non  as  in  ne-que,  ne-scio, 
ne-queo,  and  several  other  stereo- 
typed phrases.     It  is  the  same 
word  which  united  with  qui  to 
form  quin  (see  on  quln  die,  45). 

—  liberi  hominis :  i.e.,  not  a 
slave;  translate  freely  "  gentle- 
man." Cf.  liberali  (123)  and 
note. 

331.  gratiae      apponi:       the 
words  are  intended  to  recall  the 
commercial    phrase   lucrn    appo- 
nere,  "to  enter  as  profit"  (cf.  Hor- 


ace, Carm.  I.  9.  14);  translate 
"  that  it  be  credited  as  a  favor." 

332.  malo  retains  its  full  ety- 
mological force,  magis  volo,  and 
quam  follows  the  comparative. 
—  adipiscier  :  for  the  form,  see 
on  deludier  (203). 

334.  qui  is  the  ablative  of  the 
relative  pronoun  introducing  a 
purpose  clause,  "  that  whereby," 
or  better,  "  something  so  that." 
For  the  form,  see  on  53. 

335-  qui  ne  =  ut  ne ;  for 
qui  =  ut,  see  on  qui  (307). 

336.  quoius  is  the  early  Latin 
form  of  cuius ;  for  quo-  instead 
of  cu-,  see  on  quomque  (63). 
Here  the  word  is  a  monosyllable 
pronounced  quois:  see  on  eius 
(93)-  —  tu:  sc-  dicis. 

337-    fugin  =  fugis-ne.  For  the 


ACTUS  III,  SCENA  II  107 

DAVOS  CARINUS  PAMPILUS 

SERVOS  ADULESCENS  ADULESCENS 

[Enter  Davos  from  the  right.     In  his  excitement,  he  fails  to 
see  Carinus  and  Pampilus.] 

Da.    Di  bom,  bom  quid  porto  !     Sed  ubi  inveniam  Pampilum, 
Ut   metum   in   quo   nunc   est   adimam   atque   expleam 

animum  gaudio  ? 

4oC<2.    [To    Pampilus.]      Laetus    est    nescio    quid.     Pa.    [To 

Carinus.]     Nihil  est;    non  dum  haec  rescivit  mala. 

Da.   Quern    ego   nunc   credo,    si   Jam   audierit   sibi    paratas 

nuptias,  .  .  . 
Ca.    [To  Pampilus.]     Audin  tu  ilium  ?     Da.  .  .  .  toto  me  5 

oppido  exanimatum  quaerere. 
Sed  ubi  quaeram  ?     Quo  nunc  primum  intendam  ?     Ca. 

[To  Pampilus.]     Cessas  adloqui  ? 

Da.  Habeo.  [Starts  toward  Glucerium's  house.]  Pa.  Dave, 
ades,  resiste.  Da.  Quis  homost,  qui  me  .  .  .  ?  O 
Pampile, 

45  Te   ipsum    quaero.     Euge,    6    Carine !     Ambo    oppor- 

tune ;   vos  volo. 

form,  see  on  abin  (317)  and  on  Note  that  cesso  may  be  used  of 
censen  (£56) ;  for  the  meaning,  an  act  not  yet  begun,  while 
see  on  audin  (299).  English  "cease"  cannot. 

344.    ades  :   "  wait." 
ACT   III     SCENE  2  345    euge.   a  Greek  interjec- 

340.  nesci&:  for  the  quantity  tion  (cvyc).  There  were  many 

of  the  ultima,  see  Introduction  Greeks  among  the  poorer  classes 

19  end.  —  nescio  quid:  "about  at  Rome,  and  so  a  few  Greek 

something  or  other";  for  the  interjections  and  oaths  were 

case,  see  on  id  (162).  familiar  to  every  one.  When 

343.  intendam  :  sc.  iter.  —  they  were  taken  over  into  Latin 

cessas  adloqui :  English  idiom  slang,  they  doubtless  had  the 

requires  a  different  phrase,  tone  with  which  an  American 

"  Why  don't  you  speak  to  him  ?"  uses  such  German  tags  as  nichts 


-io8  TERENTI   ANDRIA 

Pa.    Dave,    perii.      Da.   Quin    tu    hoc    audi.      Pa.    Interii. 

Da.   Quid  timeas  scio. 
'   Ca.    Mea   quidem   hercle   certo   in    duhio    vitast.     Da.    [To  10 

Carinus.]     Et  quid  tu,  scio. 
Pa.    Nuptiae  mi  ...    Da.    Etsi  scio  ?    Pa.    .  .  .  hodie  .  .  . 

Da.   Obtundis,  tarn  etsi  intellego  ? 
Id  paves,  ne  ducas  tu  illam ;  [To  Carinus.]  tu  autem,  ut 

ducas.     Ca.    Rem  tenes. 
3  5°  Pa.    Istuc  ipsum.     Da.    Atque  istuc  ipsum  nil  periclist;    me 

vide. 
Pa.    Obsecro  te,  quam  primum  hoc  me  libera  miserum  metu. 

Da.    Em, 
Libero;    uxorem  tibi  non  dat  iam  Cremes.     Pa.   Quits 

scis  ?     Da.    Scio. 
Tuos  pater  modo  me  prehendit ;    ait  tibi  uxorem  dare 

kommt   heraus,    Donnenvetter,  or  emo    in     its    original     meaning 

aber    ni(ch)t.     This    word     can  "  take."     For    the    loss    of   the 

often     be      translated      "  Good  final  vowel,  cf.  die,  etc.,  and  see 

work  !  "  but  here  we  can  hardly  on  intellextin  (201).     The  word 

do  better  than  "  Good  !  "  contrasts    with    the    imperative 

346.    quinaudi:  for  the  mean-  cedo,  "give  here  "  (see  on  150), 

ing,  see  on  quin  die  (45).  and,  like  cedo,  is  used  not  only 

348.  etsi     scio :      sc.     tamen  with  a  concrete  object,  expressed 
pergis?  or  implied,  but  also,  as  here,  of 

349.  tu  Illam ;    tu  autem,  ut :  an   idea  or  a  story,  "  take  my 
observe  the  emphasis   upon  tu  l  story,  listen." 

required  by  the  context.    For  the  352.    non  iam  :   "  no  longer." 

scansion,  see  Introduction  20.  353.    Davos  refers   to  his   in- 

350.  atque  has  the  same  force  terview  with  Simo  just  after  the 
as  in  225.  —  me  vide:    "  look  to  close   of  the   first    act.     In   the 
me  " ;  i.e.,  trust  me  for  that.  next  line  he  is  thinking  of  the 

351.  em  is  the  imperative  of  continuation   of  that   interview 

1  Most  scholars  nevertheless  prefer  to  elide  tu  in  order  to  avoid  anapaests 
with  the  short  syllables  belonging  to  different  words ;  see  Lindsay,  The  Captivi 
of  Plautus  pp.  68  f. 


ACTUS  III,  SCENA  II 


109 


55 


Hodie,  item  alia  multa,   quae  nunc  non  est  narrandi 

locus. 
Continue  ad  te  properans  percurro  ad  forum,  ut  dicam 

tibi  haec. 
Ubi  te  non  invenio,  ibi  ascendo  in  quendam  excelsum 

locum. 
Circumspicio ;        nusquam.        Forte    ibi    huius    video  20 

Burriam ; 
Rogo.     Negat  vidisse.     Mihi    molestum.     Quid    agam 

cogito. 

Redeunti  interea  ex  ipsa  re  mi  incidit  suspicio  'hem, 
Paululum  obsoni ;    ipsus  tristis  ;    de  inproviso  nuptiae  : 
Non  cohaerent.'     Pa.   Quorsum  nam  istuc  ?     Da.    Ego 

me  continue  ad  Cremem. 
Quom  illo  advenio,  solitude  ante  ostium  ;  iam  id  gaudeo.  25 


in  the  first  scene  of  the  second 
act. 

355.  continuo,   etc.,  refers  to 
Davos'  exit  after  line  227. 

356.  ibi :       "  then."  —  quen- 
dam excelsum  locum  :   no  doubt 
Menander  named  the  hill ;    but, 
for    the    benefit    of   his    Roman 
audience,    Terence    substituted 
a  phrase  which  could  be  under- 
stood without  a  knowledge  of  the 
topography  of  Athens. 

357.  huius :    sc.  servum. 

359.  re  :     "  circumstances  "  ; 
the  most  important  of  them  are 
listed  in  the  next  line. 

360.  obsoni :     the    word    ob- 
sonium    is    the    Greek    oi/'wviov, 
''  marketing,  day's  purchase  of 
supplies."     In  Plautus  and  Ter- 


ence it  rarely  if  ever  corresponds 
to  Greek  oif/ov,  "  fish,  sauce,  re'.- 
ish,"  as  the  dictionaries  say  it 
does.  —  ipsus  :  this  early  Latin 
form  is  less  common  in  Terence 
than  ipse.  For  the  meaning  of 
the  word,  see  on  ipsa  (265). 

361.  non      cohaerent:       "it 
doesn't   hang   together."     Eng- 
lish   idiom    prefers    a    singular, 
Latin  a  plural,  to  refer  to  a  story. 
—  quorsum  :    for  the  verb  to  be 
supplied,    cf.    127.  —  Cremem: 
for  the  form,  see  on  247. 

362.  illo,  an  adverb  of  direc- 
tion,  shows  the  same  termina- 
tion as  quo,  eo,  etc.     Early  and 
colloquial  Latin  have  also  illo-c, 
as  well  as  the  classical  illuc.  — 
id :    for  the  case,  see  A.  &  G. 


no 


TERENTI  ANDRIA 


Ca.    Recte  dicis.     Pa.    Perge.     Da.    Maneo.     Interea  intro 

ire  neminem 

Video,  exire  neminem;    matronam  nullam  in  aedibus; 
365  Nil   ornati,   nil   tumulti.     Accessi;     intro   aspexi.     Pa. 

[Ironically.]     Scio, 
Magnum  signum.     Da.    Num  videntur  convenire  haec 

nuptiis  ? 
Pa.    N6n  opinor,  Dave.     Da.     'Opinor' narras  ?     N6nrecte3o 

accipis. 

Certa  res  est.    Etiam  puerum  inde  abiens  conveni  Cremi ; 
Holera  et  pisciculos  minutos  ferre  obolo  in  cenam  seni. 


390  c,  B.  176,  Bu.  495,  G.  333 
Note  i,  H.  &  B.  397.  2,  H.  405. 
i,  L.  &  M.  502. 

363  ff.  Observe  how  differ- 
ently the  two  lovers  react  to 
Davos'  news. 

364.  matronam     nullam     in 
aedibus :    the  Roman  audience 
would  no  doubt  interpret  these 
words   as  referring  to  the  pro- 
nuba,  the  married  woman  who 
acted   as  the  bride's   attendant 
at  a  Roman  wedding.     Terence, 
however,     probably     took     the 
phrase    from     Menander,     who 
was  alluding  to  the  fact  that  a 
wedding    was    the    one    social 
occasion     in     which     Athenian 
women  took  a  prominent  part. 

365.  ornati :    in   Plautus  and 
Terence,    nouns    of    the    fourth 
declension    often    have    -i,    less 
often  -uis,  in  the  genitive.     The 
former  ending  comes  from  the 


second  declension  and  the  latter 
from  the  third.  The  classical 
ending  -us,  which  is  also  found 
in  early  Latin,  is  the  original 
ending  of  M-stems. 

367.  narras :     used    colloqui- 
ally for  dicis. 

368.  certa  res  est :    "  It's  a 
sure  thing."  —  puerum  :   for  the 
meaning,    see   on   puer   (84).  — 
Cremi :     for    the    form,    see    on 
247. 

369.  An  Athenian  wedding  in- 
volved feasting  at  the  homes  of 
both   bride   and   groom.     Com- 
pare  Introduction    pp.    35   f .  — 
pisciculos     minutos :     the     tau- 
tological diminutive  is  colloquial. 
—  ferre  :   historical  infinitive.  — 

obolo :  the  Attic  obol  was  in- 
trinsically worth  about  three 
cents,  but  the  purchasing  power 
of  money  was  very  much  greater 
then  than  it  is  now. 


ACTUS   III,  SCENA  III  in 

70  Ca.    Liberatus  sum  hodie,  Dave,  tua  opera.     Da.    Ac  nullus 

quidem. 
Ca.    Quid   ita  ?     Nempe  huic  prorsus  illam  non  dat.     Da. 

Ridiculum  caput, 

Quasi  necesse  sit,  si  huic  non  dat,  te  illam  uxorem  ducere,  35 
Nisi   vides,  nisi  senis   amicos    oras,  ambis.     Ca.    Bene 

mones ; 

Ibo,   etsi   hercle   saepe   iam   me   spes   haec  frustratast. 
Vale.  [Exit.] 

PAMPILUS  DAVOS 

ADULESCENS  SERVOS 

75  Pa.   Quid  igitur  sibi  volt  pater  ?     Cur  simulat  ?     Da.    Ego 

dicam  tibi. 

§i  id  suscenseat  nunc,  quia  non  det  tibi  uxorem  Cremes, 
Ipsus  sibi  esse  iniunus  videatur,  neque  id  miuria, 
Prius  quam  tuom   animum   ut  sese  habet   ad   nuptias 

perspexerit. 
Sed  si  tu  negaris  ducere,  ibi  culpam  in  te  transferees 

370.  ac     here     couples     con-          376.    id :    for  the  case,  see  on 
trasting  ideas,  as  the  equivalent      362. 

atque  does '  in  line  225,  etc. ;  377.  ipsus :  for  the  form,  see 
translate  "  and  yet."  —  nullus  on  360.  —  sibi  esse  :  the  short- 
occurs  frequently  in  colloquial  ening  is  due  to  the  iambic 
Latin  where  formal  Latin  would  law. 

have  minime  (i.e.,  a  strengthened  378.    animum:     for    the    col- 

non) ;    translate    ac    nullus  qui-  loquial  proleptic  accusative,  see 

dem  "  not  a  hit  of  it."  on  filium    (169).  —  habet :     for 

371.  caput:   vocative.  the     mood,     see     on     quid    est 
373.    vides  =  provides.  (45)- 

379.    ducere :    the  present  in- 
finitive is  rather  commonly  used 

375.  sibi  volt :  "  means."  For  for  the  future  in  early  Latin ;  see 
the  form  of  volt,  see  on  parvolo  Bennett,  Syntax  of  Early  Latin 
(35).  I.  426  f. 


112 


TERENTI   ANDRIA 


380          Turn    illae    turbae    fient.     Pa.   Quidvis    patiar.     Da. 

Pater  est,  Pampile ; 
Difficilest.     Turn      haec      solast   mulier.     Dictum      ac 

factum,  invenerit 
Aliquam    causam,    quam    6b    rem    eiciat   oppido.     Pa. 

[Horrified.]     Eiciat  ?     Da.    Cito. 
Pa.    Cedo  igitur,  quid  faciam,  Dave  ?     Da.    Die  te  ductu- 

rum.     Pa.    Hem.     Da.   Quid  est  ? 
Pa.    Egon  dicam  ?     Da.    Cur  non  ?     Pa.    Numquam  faciam. 

Da.   Ne  nega. 
385  Pa.    Suadere  noli.     Da.    Ex  ea  re  quid  fiat,  vide. 

Pa.  [Pointing  to  Gluceriums  house.]  Ut  ab  ilia  excludar, 
[Pointing  toward  his  father's  house.]  hoc  concludar. 
Da.  Non  itast. 

Nempe  hoc  sic  esse  opinor :   dicturum  patrem 
'Ducas  volo  hodie  uxorem' ;   tu  'ducam'  inquies. 
Cedo  quid  iurgabit  tecum  hie  ?     Reddes  omnia, 
39°          Quae  nunc  sunt  certa  ei  consilia,  incerta  ut  sient, 

Sine    omni    periclo.     Nam    hoc    haud    dubiumst,    quin 
Cremes 


381.  dictum  ac  factum:  the 
corresponding  English  proverb 
is,  "  No  sooner  said  than  done." 
—  invenerit :  for  the  tense,  see 
on  ceperit  (213). 

383.  cedo  :  for  the  etymology 
and    meaning,    see    on    150.  — 
hem  :    a  horrified  "  Oh  !  " 

384.  ne  nega  :  prohibitions  of 
this  form  are  common  in  early 
Latin  and,  as  archaisms,  in  the 
later  poets. 

385.  suadere      noli :       early 
Latin  has  all  the  classical  forms 


of  prohibition,  and  in  addition 
those  illustrated  by  ne  facias 
(205)  and  ne  nega  (384). 

386.  hoc  =  hue;  for  the  form, 
cf.  on  illo  (362).  The  word  is 
accompanied  by  a  gesture  to- 
ward Simo's  house ;  for  if 
Pampilus  should  marry  Cremes' 
daughter,  he  would  of  course 
bring  her  home. 

390.  sient :    for  the  form,  see 
on  234. 

391.  sine  omni:    an  illogical 
colloquialism  for  sine  ullo. 


ACTUS  III,  SCENA  III 


Pa. 


Tibi  non  det  gnatam.     Nee  tu  ea  causa  minueris 

Haec  quae  facis,  ne  is  mutet  suam  sententiam. 

Patri  die  velle,  ut,  quom  velit,  tibi  Jure  irasci  non  queat.  20 

Nam  quod  tu  spares  'propulsabo  facile  uxorem  his  moribus, 

Dabit  nemo' ;  inveniet  inopem  potius  quam  te  corrumpi 

sinat. 

Sed  si  te  aequo  animo  ferre  accipiet,  neclegentem  feceris ; 
Alia  otiosus  quaeret.     Interea  aliquid  accident  boni. 
Itan    credis  ?     Da.    Haud    dubium    id    quidemst.     Pa.  25 

Vide  quo  me  inducas.     Da.   Quin  taces  ? 
Dicam.     Puerum  autem  ne  resciscat  mini  esse  ex  ilia, 

cautiost ; 


392.  nee  minueris  :  a  prohi- 
bition ;  cf.  on  ne  facias  (205). 
The  danger  was  that  if  Cremes 
saw  an  improvement  in  the  con- 
duct of  Pampilus,  he  might 
renew  the  betrothal.  Nee  is 
illogically  put  for  atqui  ne. 

395  ff.  Davos  here  meets  a 
possible  objection  to  his  plan, 
but  the  point  is  stated  so  briefly 
as  to  be  somewhat  obscure. 
We  may  expand  thus :  Pa. 
Why  not  rely  solely  upon  my 
notorious  connection  with  Glu- 
cerium  to  keep  me  out  of  the 
marriage  market  ?  Why  make 
any  promises  to  my  father  ?  Da. 
If  you  vex  him,  he  will  find  a 
poor  girl  whose  father  will  take 
a  rich  son-in-law  in  spite  of  any 
scandal. 

395.  quod  speres :  see  A. 
&  G.  572  a,  B.  299.  2,  Bu.  823, 

TUR.   ANDRIA 8 


G.  525.  2  Note  3,  H.  &  B.  552.  2, 
H.  588.  3  Note,  L.  &  M.  847. 
In  classical  Latin  the  verb 
would  be  indicative.  —  propul- 
sabo :  a  strong  military  expres- 
sion. 

396.  sinat:  for  the  mood,  see 

A.  &  G.  571   a,  B.  284.  4,  Bu. 
869,  G.   644  Remark  3,  H.   & 

B.  507.  4  d,  H.  570.    i,   L.   & 
M.  871. 

397.  feceris:    for  the   tense, 
see  on  ceperit  (213). 

398.  alia  quaeret :    "  he  will 
turn  to  other  things." 

399.  quin     taces :      for     the 
meaning,  see  on  quin  die  (45). 

400.  dicam  :   sc.  me  ducturum 
esse.  —  ne  :   for  the  position,  see 
on  ut  (160).  —  cautiost  =  caven- 
dum    est.     For  the  verbal  noun 
in  the  value  of  a  verb  form,  cf.  on 
inmemori  (44). 


114  TERENTI   ANDR1A 

Nam    pollicitus     sum     suscepturum.     Da.   O     facinus 

audax  !     Pa.    Hanc  fidem 
Sibi   me  obsecravit,  qui  se  sciret  non  deserturum,   ut 

darem. 
Da.   Curabitur.     Sed    pater    adest.     Cave    te    esse    tristem 


SIMO  DAVOS  PAMPILUS 

SENEX  SERVOS  ADULESCENS 

[Enter  Simo  from  the  right.     He  doesn't  see  Pampilus  and 
Davos.] 

Si.     Revise  quid  agant  aut  quid  captent  consili. 
405  Da.   [To  Pampilus.]     Hie  nunc  non  dubitat,  quin  te  duc- 

turum  neges. 

Venit  meditatus  alicunde  ex  solo  loco ; 
Orationem  sperat  invenisse  se, 
Qui  differat  te.     Proin  tu  fac  apud  te  sies. 
Pa.   [To  Davos.]     Modo  ut  possim,  Dave.     Da.    [To  Pampi- 
lus.]    Crede  inquam  hoc  mihi,  Pampile, 

401.  suscepturum:      for    the  408.    qui:    ablative  feminine, 
meaning,  see  on  tollere  (219).  —  -   differat    te :     "rip    you    up 
fidem:     "promise";    construe  the  back."  —  proin:  a  monosyl- 
with  darem.  lable  with  diphthongal  oi;    see 

402.  qui:    ablative  feminine;  on     dehinc     (79).   --  apud     te 
for  the  form,  see  on  53.     It  in-  sies:    "  have   your   wits    about 
troduces  a  purpose  clause,  as  in  you." 

334.  —  deserturum:    sc.    me   as          409.    modo     ut    possim:      in 
subject.  early  Latin,  wishes  are  sometimes 

introduced    by    ut    (note    that 
ACT  1        SCENE  4  ut{nam  js  mere,y  ut({}  +  nam}. 

404.  revise :  "  I  am  coming  see  A.  &  G.  442  a,  Bu.  774, 

back  to  see."  G.  261,  H.  &  B.  511.  i  a,  H.  558. 

406.  meditatus:  "  after  re-  5.  Modo  is  the  adverb  "  only," 

hearsing  his  argument."  and  it  virtually  transforms  the 


ACTUS  III,  SCENA  V  115 

|.io          Numquam  hodie  tecum  commutaturum  patrem 
Unum  esse  verbum,  si  te  dices  ducere. 

BURRIA  SIMO  DAVOS  PAMPILUS 

SERVOS  SENEX  SERVOS  ADULESCENS 

[Enter  Burria  from  the  right.] 

Bu.   [Aside.]     Erus  me  relictis  rebus  iussit  Pampilum 
Hodie  observare,  ut  quid  ageret  de  nuptiis 
Scirem ;  id  propterea  nunc  hunc  venientem  sequor. 
I-IS  Ipsum  adeo  praesto  video  cum  Davo;   hoc  agam. 

Si.     [Aside.]     Utrumque  adesse  video.     Da.    [To  Pampilus.]  5 

Em,  serva  !     Si.    Pampile  ! 
Da.   [To   Pampilus.]     Quasi   de  inproviso   respice   ad   eum. 

Pa.    Ehem,  pater ! 
Da.   [Aside.]     Probe !     Si.    Hodie    uxorem    ducas,    ut    dixi, 

volo. 

Bu.   [Aside.]     Nunc  nostrae  timeo  parti,  quid  hie  respondeat. 
.20  Pa.    Neque  istic  neque  alibi  tibi  erit  usquam  in  me  mora. 

Bu.    [Aside.]     Hem  ! 

Da.   [Aside.]     Obmutuit.     Bu.    [Aside.]     Quid      dixit  ?     Si.  10 
Facis  ut  te  decet, 

wish  into  a  proviso ;    translate  "  and  now."  —  hoc  agam :  "  I'll 

"  if  only  I  can."  attend  to  business." 

411.    ducere:    for   the   tense,          416.    em:    "there  you  are." 

see  on  379.  The  implied  object  is  the  situa- 
tion which  calls  for  the  perform- 

iCENE  5  ance    of   the    farce    they    have 

414.  id   refers   to   ut  scirem;  planned;  see   on  351.  —  serva: 
for  the  case,  see  on  id  (162). —  "  look  out." 

propterea   refers    to    iussit  .  .  .          417.    ehem :   like  hem,  an  ex- 

observare.  —  hunc  :  i.e.,  Simo.  clamation  of  surprise,  "  why  ! " 

415.  adeo:    "in   addition   to  421.    obmutuit :     this   records 
this,     besides  "     (for    the    ety-  the  fulfillment  of  Davos'  proph- 
mology,  see  on  120);    translate  ecy  in  line  410. 


Ii6  TERENTI   ANDRIA 

Quom  istuc  quod  postulo  impetro  cum  gratia. 
Da.    [Aside.]     Sum    verus  ?     Bu.    [Aside.]     Erus,    quantum 

audio,  uxore  excidit. 

Si.     I  nunciam  intro,  ne  in  mora,  quom  opus  sit,  sies. 
425  Pa.    E6.     [Exit  into  Simo's  house.]     Bu.    [Aside.]     Nullane 

in  re  esse  quoiquam  homini  fidem  ! 
Verum  illud  verbumst,  volgo  quod  dici  solet, 
Omnis  sibi  malle  melius  esse  quam  alteri. 
Ego  illam  vidi ;   virginem  forma  bona 
Memini  videri.     Quo  aequior  sum  Pampilo, 
430          Si  se  illam  in  somnis  quam  ilium  amplecti  maluit. 

Renuntiabo,  ut  pro  hoc  malo  mihi  det  malum.     [Exit.] 

DAVOS  SIMO 

SERVOS  SENEX  " 

Da.   [Aside.]    Hie  nunc  me  credit  aliquam  sibi  fallaciam 
Portare  et  ea  me  hie  restitisse  gratia. 

422.  impetro:   for  the  indica-          425.    nullane  .  .  .  fidem:  for 
tive    in    a    causal    ^worn-clause,  the  construction,  see  on  245.  — 
see  on  quom  videt  (242).  —  cum  fidem  means  "  reliability  ";  but 
gratia  :    "  with  friendly  feeling,  that  is  too  long  a  word  for  Burria 
willingly  " ;  the  contrasting  idea  to  say.     Recast  the  sentence  in 
is  expressed   by  ingrains,  "  un-  colloquial  English. 

willingly,  grudgingly."  429.    videri :     for    the    tense, 

423.  uxore  excidit :   "  is  short  see  A.  &  G.  584  a  Note,  Bu.  942, 
a  wife."     After  his  exclamations  G.  281.  2  Note,  H.  &  B.  593  b, 
in  420  and  421,  Burria  quickly  H.     618.     2.  —  quo:      "  where- 
recovers  his  usual  sang-froid.  fore."  —  aequior :      "  more     in- 

424.  It  now  remains  for  Simo  clined  to  excuse." 

to  use  the  second  string  to  his  431.  malum :"  the  mischief"; 

bow    (see    165    ff).     Now    that  see  on  malo  (179). 

Pampilus   has   apparently   been 

got     away     from*  Glucerium,  AcT  HI 

Cremes  may  withdraw  his  ob-  433.    ea     gratia:      "on     that 

jections  to  the  match.  account  " ;    eius    gratia    might 


ACTUS  in,  SCENA  VI 


117 


35  Si. 
Da. 

Si. 
Si. 


narrat  ?     Da.    Nequeo    quicquam    nunc 
Da.    Nil  prorsus.     Si.   Atqui  expecta- 


H6c  male  habet  s 


Si.     Quid    Davos 
quidem. 
Nilne  ?     Hem  ! 

bam  quidem. 
[Aside.]     Praeter  spem  evenit,  sentio. 

virum. 

Potin  es  mihi  verum  dicere  ?     Da.    Nihil  facilius. 
Num  illi  molestae  quidpiam  haec  sunt  nuptiae  ? 
Da.   Num  propter  consuetudinem  huiusce  hospitae  ? 
40          Nil  hercle ;   aut,  si  adeo,  biduist  aut  tridui 
Haec  sollicitudo ;   nosti  ?     Deinde  desinet. 
Etenim  ipsus  secum  earn  rem  reputavit  via. 
Si.     Laudo.     Da.    Dum  licitumst  ei  dumque  aetas  tulit, 


have  been  understood  as  "  on 
his  account." 

434.  quid  Davos  narrat :  nar- 
rat =  ait  (cf.  on  narras,  367) ; 
the  clause  means  "  What  has 
Davos  to  say  ?  " 

436.    male  habet :  "  worries." 

437-  potin  es  =  potesne  (cf. 
audin  =  audis-ne,  etc.).  The 
early  Latin  adjective  potis, 
"  able,  possible,"  appears  both 
in  that  form  and  as  pote  in  all 
genders  and  in  both  numbers. 
—  dicere  nihil :  the  fourth  foot  of 
the  verse  is  a  tribrach.  —  fa- 
cilius  :  the  regular  accentuation 
of  this  word  in  Plautus  and 
Terence;  see  on  benefici  (44). 

438.  quidpiam  :  "  at  all."  — 
haec  =  hae.  The  variant  forms 
of  hie  may  be  found  in  the 
grammars. 


440.  si  adeo  :   adeo  is  here  an 
emphasizing    particle,    "  even." 
English  idiom  requires  that  we 
fill  out  the  clause,  "  even   if  it 
does." 

441.  nosti:    with  the  tone  of 
English    "  don't    you    know  ?  " 
The  contracted  forms  of  perfects 
in   v,   unlike   praescripsti    (151), 
etc.,  occur  frequently  in  formal 
Latin.  —  deinde  :    for   the   pro- 
nunciation, see  on  dehinc  (79). 

442.  via  :  "  aright  " ;  cf.  viam 
(190). 

443.  dum    licitumst,    etc. :     a 
mocking    repetition    of    Simo's 
words  to  Davos  in  188.  —  ei  is 
here  a  spondee.     The  dative  of 
is  appears  in  early  Latin  in  three 
forms  :  el  (pronounced  ei-yi),  ei, 
and  ei  (pronounced  as  a  diph- 
thong). 


u8 


TERENTI   ANDRIA 


Amavit;   turn  id  clam;   cavit,  ne  umquam  infamiae 
445  Ea  res  sibi  esset,  ut  virum  fortem  decet. 

Nunc  uxore  opus  est;   animum  ad  uxorem  adpulit. 
Si.     Subtristis  visust  esse  aliquantillum  mihi. 
Da.   Nil  propter  hanc  rem,  sed  est  quod  suscenset  tibi. 
Si.    Quid  namst  ?     Da.    Puerilest.     Si.   Quid  id  est  ?     Da. 

Nil.     Si.     Quin  die,  quid  est  ? 
450  Da.   Ait  nimium  parce  facere  sumptum.     Si.     Mene  ?     Da. 

Te. 

'Vix'  inquit  'dracumis  est  obsonatus  decem; 
Non  filio  videtur  uxorem  dare. 

Quern'  inquit  '  vocabo  ad  cenam  meorum  aequalium, 
Potissumum  nunc  ?'     Et,  quod  dicendum  hie  siet, 


445.  fortem  :  "  honorable  "  ; 
the  phrase  virum  fortem  means 
"  gentleman."  Davos'  idea  that 
hypocrisy  in  such  matters  is 
conduct  proper  for  gentlemen 
is  still  widely  held. 

447.  aliquantillum  repeats  the 
force  of  sub  in  subtristis.     This 
diminutive   form   is   exclusively 
colloquial. 

448.  quod :     for     the     case, 
see     on    id     (362) ;     translate 
"about  which."     —suscenset: 
"  is    vexed  " ;  what   would    the 
subjunctive  mean  here  ? 

449.  quin  die :   for  the  mean- 
ing and  construction,  see  on  45. 

451.  dracumis:  consult  the 
dictionary  under  drachma  (Gk. 
Spaxpr)).  The  Romans  had  the 
same  difficulty  with  certain 
Greek  combinations  of  conso- 


nants that  we  find  with  German 
Knabe,  etc.  In  early  times  the 
difficulty  was  removed  by  the 
insertion  of  a  short  u  or  i  (much 
as  we  are  inclined  to  say 
Kunabe).  At  about  the  time 
when  the  Romans  began  writ- 
ing ck,  etc.  (see  on  epebis,  51), 
they  began  taking  pains  to  pro- 
nounce the  difficult  consonant 
groups  correctly.  The  drachma 
contained  metal  that  would  now 
be  worth  about  20  cents;  but 
its  purchasing  power  was  much 
greater  than  that.  —  est  obsona- 
tus :  a  deponent  form  of  obsono. 

453.  meSrum :   for   the   pros- 
ody, see  Introduction  19  end. 

454.  potissumum  nunc  :  "par- 
ticularly   at     this    late     hour." 
Others    translate    "  particularly 
on    my   wedding   day."  —  quod 


ACTUS  III,  SCENA  VII 


119 


•55  Tu  quoque  perparce,  nimium.     Non  laudo.     St.  Tace. 

Da.    [Aside.]    Commovi.    Si.  Ego  istaec  recte  ut  fiant  videro.  25 
[Aside.]     Quid  nam  hoc  est  rei  ?     Quid  hie  volt  vetera- 

tor  sibi  ? 
Nam  si  hie  malist  quicquam,  em,  illic  est  huic  re  caput. 


Musis          SIMO       DAVOS  LESBIA        (GLUCERIUM) 


ANCILLA 


SENEX         SERVOS 


OBSTETRIX 


VIRGO 


[Enter  Musis  and  Lesbia  from  the  right.      They  do  not  see 
Simo  and  Davos.] 

Mu.  Ita  pol  quidem  res  est,  ut  dixti,  Lesbia: 
60  Fidelem  hau  ferme  mulieri  invenias  virum. 

Si.     [To  Davos.]     Ab  Andriast  ancilla  haec  ?     Da.    [To  Simo.] 

Quid  narras  ?     Si.    [Aside.]     Itast. 

Mu.  Sed  hie  Pampilus  .  .  .  Si.    [Aside.]     Quid  dicit  ?     Mu. 
.  .  .  flrmavit  fidem.     Si.    [Aside.]     Hem  ! 


dicendum  hie  siet:  for  the  re- 
strictive clause,  see  A.  &  G.  53  5  d, 
B.  283.  5,  Bu.  803,  G.  627 
Remark  i,  H.  &  B.  521.  i  f,  H. 
591.  3,  L.  &  M.  841. 

455-  tu  quoque,  etc. :  quo- 
que marks  the  entire  sentence 
as  in  harmony  with  the  preceding 
quotation  of  Pampilus'  com- 
plaints; translate  "really  you 
have  been  very  stingy,  too  much 
so."  —  non  laudo:  a  parody  of 
Simo's  laudo  (443). 

456.  videro :     for   the   tense, 
see  on  ceperit  (213). 

457.  rei :     early     Latin     has 
also  the  classical  genitive  rei:  — 
veterator :     Davos    is    an    "  old 


hand  "  at  rascality  —  vetus  in 
astutia,  says  the  ancient  com- 
mentator. 

458.  em  accompanies  a  ges- 
ture of  pointing  toward  Davos ; 
omit  in  the  translation. — illic: 
nominative  singular  masculine, 
from  ille-ce.  For  the  change  of 
e  to  i,  see  on  hoccine  (186).  —  re  : 
for  the  monosyllabic  dative,  see 
on  fide  (296). 

ACT  III  SCENE  7 

460.  hau  =  hand.  —  invenias  : 
for  the  potential  subjunctive, 
see  on  scias  (95). 

462.  firmavit:  slightly  stronger 
than  dedit. 


I2O 


TERENTI   ANDRIA 


Da.   [Aside.]    Utinam  aut  hie  surd  us  aut  haec  muta  facta  sit!  s 
Mu.  Nam    quod    peperisset,    iussit    tolli.     St.    [Aside.]     O 

luppiter, 
465  Quid  ego  audio  ?     Actumst,  siquidem  haec  vera  prae- 

dicat. 

Le.    Bonum  ingenium  narras  adulescentis.     Mu.  Optumum. 
Sed  sequere  me  intro,  ne  in  mora  illi  sis.     Le.     Sequor. 
[Exeunt  into  Glucerium's  house.] 
Da.   [Aside.]     Quod   remedium  nunc  huic  malo  inveniam  ?  10 

Sz.    Quid  hoc  ? 

Adeon  est  demens  ?     Ex  peregrina  ?      lam  scio ;   ah, 
470          Vix    tandem    sensi    stolidus.     Da.    [Aside.]     Quid    hie 

sensisse  ait  ? 
Si.     [Aside.]     Haec  primum  adfertur  iam  mi  ab  hoc  fallacia ; 

Hanc  simulant  parere,  quo  Cremetem  absterreant. 
Gl.     [Inside  the  house.]     luno  Lucina,  fer  opem,  serva  me,  15 
obsecro. 


464.  quod :     for   the   gender, 
see  on  nil  (120). 

465.  actumst :  "  all  is  over  "  ; 
originally  used  of  closing  a  law- 
suit. —  siquidem  :     si,    quando, 
me,  tu,  and  te  are  often  short- 
ened before  quidem.     The  cause 
of  the  shortening   is   unknown. 
In  these  cases  it  would  be  pos- 
sible to  read  si  equidem,  etc.,  with 
elision  (cf.  ne  utiquam,  and  note 
on  330).     No  such  explanation, 
however,    would    hold    for    the 
apparently  similar   shortenings, 
sine   (from  si  ne),   quasi   (from 
qua  si),  etc. 

469.   To  Simo,  as   to   Davos 


(cf.  218),  it  seems  sheer  madness 
to  bring  up  the  child  of  a  foreign 
woman;  for  such  a  child  would 
be  an  alien.  The  explanation  of 
Pampilus'  conduct,  viz.  that 
Glucerium  is  not  really  a  for- 
eigner, is  unknown  to  Simo; 
and  Davos,  who  has  heard  the 
story,  disbelieves  it.  Compare 
on  145  f. 

472.  quo    here    introduces    a 
purpose  clause  even  though  there 
is  no  comparative;    cf.  on  quo 
minus  (197).  —  Cremetem  :    for 
the  form,  see  on  247. 

473.  luno  Lucina  is  the  god- 
dess of  childbirth. 


ACTUS  IH,  SCENA  VIII 


121 


Si. 


475 


Si. 


Si. 


480 


Hui,   tarn   cito  ?     Ridiculum.     Postquam    ante   ostium 
Me  audivit  stare,  adproperat.     N6n  sat  commode 
Divisa  sunt  temporibus  tibi,  Dave,  haec.     Da.    Mihin  ? 
Num     inmemores    discipuli  ?     Da.    Ego     quid     narres 

nescio. 

[Aside.}     Hicine  me  si  inparatum  in  veris  nuptiis 
Adortus  esset,  quos  mihi  ludos  redderet ! 
Nunc  huius  periclo  fit,  ego  in  portu  navigo. 


DAVOS 

SERVOS 

She  calls  back  to  the 


LESBIA  SIMO 

OBSTETRIX  SENEX 

[Enter  Lesbia  from  Glucerium's  house, 
women  in  the  house.} 

Le.    Adhuc,  Arculis,  quae  adsolent  quaeque  oportent 
Signa  esse  ad  salutem,  omnia  huic  esse  video. 


474.  hui:  a  whistle.  —  cito,  in 
origin  the  ablative  neuter  of  ci- 
tus,  here  retains  its  full   quan- 
tity.   xThe    form    with    iambic 
shortening  is  more  common  in 
early  Latin  and  universal  later. 
For  parallels,  see    Introduction 
19. 

475.  audivit :  i.e.,  from  Musis 
and  Lesbia. 

475  ff.  Simo  admonishes  Da- 
vos that  he  ought  to  have  put 
a  longer  interv'al  between  the 
arrival  of  the  midwife  and 
Glucerium's  cry.  He  draws  his 
figures  from  the  stage. 

476.  temporibus :     "  in   point 
of  time." 


477.  discipuli :  "  actors."    For 
the   author  of  a   play  was  said 
docere  fabulam,   a   usage   which 
was  taken  over  from  the  Greek. 

478.  hicine :     in   early   Latin 
the  enclitic  -ne  is  sometimes  an 
affirmative    particle.1     For    the 
change  of  the  enclitic  -ce  to  -ci, 
see  on  hoccine  (186). 

480.  huius  is  a  monosyllable ; 
see  on  eius  (93). 

ACT  III  SCENE  8       %  - 

481-484.    For     the     bacchiac 
tetrameters,  see  Introduction  28. 

481.  oportent:     this    verb    is 
sometimes     personal     in     early 
Latin. 


1  This  explanation  seems  to  have  won  pretty  general  acceptance,  but  there 
is  still  room  for  doubt. 


122 


TERENTI   ANDRIA 


Nunc  primum  fac  istaec  lavetur;   post  deinde, 
Quod  iussi  ei  dari  bibere  et  quantum  imperavi, 
485  Date ;   mox  ego  hue  revortor. 

[Closes  the  door,  and  walks  toward  the  right  soliloquizing.} 
Per  ecastor  scitus  puer  est  natus  Pampilo. 
Deos    quaeso    ut    sit    superstes,    quandoquidem    ipsest 

ingenio  bono, 

Quomque  huic  est  veritus  optumae  adulescenti  facere 

iniuriam.  [Exit.] 

St.     Vel  hoc  quis  non  credat,  qui  te  norit,  abs  te  esse  ortum? 

Da.    Quid  nam  id  est  ? 
490  Si.     Non  imperabat  coram,  quid  opus  facto  esset  puerperae,  i< 


483.  istaec :  nominative    sin- 
gular  feminine.  —  lavetur   is   a 
true  passive;    translate  fac  .  .  . 
lavetur  "  have  her  bathed." 

484.  ei  is   monosyllabic;   see 
on  ei  (443).  —  bibere  is  a  col- 
loquial infinitive  of  purpose  after 
dari. 

485.  revortor:      present     for 
future. 

486.  per :       with       scitus.  — 
scitus    exhibits    the    participial 
suffix  in  an  active  sense,  as  in 
deponent  verbs,  gavisus  from  gau- 
deo,  etc.  (cf.  B.  1 1 4. 2)    The  mean- 
ing "  knowing,  wise  "  was  weak- 
ened in  colloquial   Latin  into  a 
vague  general  epithet  of  praise. 
The  same  development  is  to  be 
seen  in  English  "  cunning  "  ;  but 
the  colloquial  "  cunning  "  is  em- 
ployed  only    by   women,   while 
scitus  was  used  in  the  slang  sense 


by  men  as  well.     Translate  per 
scitus  "  very  nice." 

487.  superstes :   sc.  Pampilo. 
It  was  always  in  order  to  pray 
that   a   son   should   outlive   his 
father,   for  that  is  the  way  of 
nature.     The    prayer   does    not 
imply     indifference     to     Pam- 
pilus'      welfare.   -  -   quandoqui- 
dem :   for  the  quantity  of  the  an- 
tepenult, see  on  siquidem  (465). 

488.  est     veritus:      for     the 
mood,  see  on  impetro  (422). 

489.  vel,  "  even,"  introduces 
the  climax. 

490.  quid   opus   facto    esset : 
quid  is  the  subject  of  the  verb. 
The  ablative  singular  neuter  of 
the    participle,    instead    of   the 
supine   in  -u,   regularly   follows 
opus   est   in   early   Latin.      The 
four  words  =  quid  faciendum  es- 
set. —  puerperae :   dative. 


ACTUS  III,  SCENA  VIII 


123 


Sed  postquam  egressast,  illis  quae  sunt  intus  clamat  de 

via. 
O  Dave,  itane  .contemnor  abs  te  ?     Aut  itane  tandem 

idoneus 
Tibi    videor    esse,    quern    tarn    aperte    fallere    incipias 

dolis  ? 

Saltern  accurate,  ut  metui  videar  certe,  si  resciverim. 
95  Da.   [Aside.]     Certe  hercle  nunc  hie  se  ipsus  fallit,  haud  ego.  15 

Si.    Edixi  tibi, 
Interminatus  sum,  ne  faceres  ?     Num  veritu's  ?     Quid 

retulit  ? 

Credon  tibi  hoc  nunc,  peperisse  hanc  e  Pampilo  ? 
Da.   [Aside.]     Teneo  quid   erret,  et  quid  agam  habeo.     Si. 

Quid  taces  ? 
Da.  Quid   credas?     Quasi  non  sint  tibi  renuntiata  haec  sic 

fore. 


490  f.  Here,  as  in  475  f.,  Simo 
is  quite  right  in  thinking  the 
behavior  of  Lesbia  unusual. 
She  should  have  visited  her 
patient  sooner,  and  she  should 
have  finished  her  directions 
before  leaving  the  house.  The 
audience  knows  the  explanation 
of  both  blunders  :  Lesbia  is  care- 
less, temeraria  (229). 

493.  fallere     incipias     is 
stronger  than  f  alias. 

494.  accurate:     an    adverb; 
sc.    me  fallere    debes.     It    con- 
trasts  with    aperte   of  the    pre- 
ceding line. 

496.  interminatus  sum :  a 
colloquially  strengthened  mina- 


tus    sum.  —  retulit :     from    the 
impersonal  rejert. 

497.  credon :    for  the  indica- 
tive in  a  deliberative  question, 
see  on  adeon    (315);    translate 
"  Shall  I    take   your   word    for 
this  ?  " 

498.  teneo  is  as  slangy  as  in 
86,  but  we   must    translate  "  I 
see." 

499.  quid     credas :      "  Why 
should  (i.e.,  need)  you  take  my 
word  ?  "      Davos    implies    here 
what  he  states  in  the  next  sen- 
tence,    that     Simo    has    other 
grounds  for  his  knowledge.     For 
the  mood,  see  G.  259,  H.  &  B. 
513.  I,  H.  557,  L.  &  M.  723. 


TERENTI   ANDRIA 


500  Si.     Mihin    quisquam  ?     Da.    [Ironically.]     Eho,     an     tute  20 


intellexti  hoc  adsimulari  ?     Si.    Inrideor. 
Da.    Renuntiatumst  ;    nam  qui  tibi  istaec  incidit  suspicio  ? 
Si.     Qui  ?     Quia  te  noram.     Da.    Quasi  tu  dicas  factum  id 

consilio  meo. 
Si.     Certe   enim   scio.     Da.    Non   satis  me   pernosti   etiam, 

qualis  sim,  Simo. 
St.     Egon  te  ?     Da.    Sed  si  quid    tibi  narrare  occepi,  con- 

tinue dari 
505  Tibi    verba     censes.     St.    Falso  ?     Da.    Itaque     hercle  2< 

nil  iam  muttire  audeo. 
St.     Hoc    ego    scio    unum,    neminem    peperisse    hie.     Da. 

Intellexti  : 

Nilo  setius  mox  puerum  hue  deferent  ante  ostium. 
Id  ego  iam  nunc  tibi,  ere,  nuntio  futurum,  ut  sis  sciens, 


500.  quisquam :   sc.  renuntia- 
vit.  —  eho  marks  surprise.     For 
another    meaning    of    eho,    see 
on     184.  —  an    introduces     the 
second  alternative,  although  the 
first  is  not  included  in  the  ques- 
tion.—  tute:     emphatic;     con- 
trast the  use  of  egomet  which  we 
have  noticed  in  line  82.     Trans- 
late "  Did  you  find  out  for  your- 
self?"    Davos   pretends   to   be 
quite  overcome  with  admiration 
of     his     master's     shrewdness. 
There  is  irony  in  this  and  Davos' 
succeeding  speeches,   but   he  is 
not    now    mocking    Simo;      he 
is  playing  a  part  in  all  serious- 
ness. —  intellexti :    for  the  form, 
see  on  praescripsti  (151). 

501.  qui:  "why?"   See  on  53. 


503.  enim  :     "  for  "  ;     trans- 
late "  yes  <I   do  say  so),   for." 
Others  take  enim  in  its  original 
corroborative  sense  with  eerie. — 
me  :  for  the  prolepsis,  see  on  fi- 
lium  (169).  —  etiam  is  temporal, 
as  in  116. 

504.  egon    te :     supply    verb 
and  modifiers  from  the  preceding 
sentence.  —  dari  verba  :    for  the 
meaning,  see  on  211. 

505.  falso :    again   supply  in 
thought  most  of  the  preceding 
sentence ;  translate  "  And  am  I 
wrong  ?  " 

506.  intellexti :     Davos'   tone 
is  full  of  admiration. 

507.  nilo  setius  =  tamen. 

508.  ut    sis    sciens    is    a   col- 
loquial periphrasis  for  ut  scias. 


ACTUS  III,  SCENA  VIII 


125 


Ne  tu  hoc  poste  dicas  Davi  factum  consilio  aut  dolis. 
10  Prorsus  a  me  opinionem  hanc  tuam  esse  ego  amotamso 

volo. 
Si.     Unde    id    scis  ?     Da.   Audivi    et    credo.     Multa    con- 

currunt  simul, 
Qui  coniecturam  hanc  nunc  faciam.     lam  prius  haec  se  e 

Pampilo 
Gravidam     dixit     esse.     Inventumst     falsum.     Nunc, 

postquam  videt 

Nuptias  domi  apparari,  missast  ancilla  ilico 
[5  Obstetricem  accersitum  ad  earn  et  puerum  ut  adferretas 

simul. 
Hoc  nisi  fit,  puerum  ut  tu  videas,  nihil  moventur  nup- 

tiae. 
Si.     Quid  ais  ?     Quom  intellexeras 

Id  consilium  capere,  cur  non  dixti  extemplo  Pampilo  ? 


509.  poste  :  the  original  form 
of  post.     For  the   loss  of  final 
short     e,     which     yielded     the 
classical    form,  compare    neque, 
nee,    etc. ;      see    on     intellextin 
(201). 

510.  prorsus:     "utterly."  — 
tuam  esse  :  the  shortening  is  due 
to  the  iambic  law. 

511.  uncle  id  scis  :   Davos  has 
at  last  made  an  impression  on 
Simo;.  but  the  latter  still  feels 
the  need  of  a  little  cross-examin- 
ing. —  audivi,    etc. :     Davos    is 
not  quite  ready  to  answer.     His 
first  reply  is  the  obvious  "  I've 
heard  " ;  but  he  promptly  with- 
draws that  explanation  as  invit- 


ing further   inconvenient   ques- 
tions. 

512.    qui  =  ut;  see  on  307. 

515.  accersitum:     accerso    is 
the   colloquial   form   of  arcesso. 
The   historical   relationship   be- 
tween the  two  forms  is  unknown. 

—  puerum :   "  a  baby." 

516.  Davos    gives    the    (sup- 
posed) reasoning  of  the  women, 
from  their  own  point  of  view.  — 
nihil  is  an  emphatic  non. 

517.  quid  ais:   for  the  mean- 
ing, see  on  137. 

518.  capere:    for  the  omitted 
subject,  see  on  dictum   (29).  — 
dixti :  for  the  form,  see  on  prae- 
scripsti  (151). 


126 


TERENTI   ANDRIA 


Da.  Quis    igitur    eum    ab    ilia 
omnes  nos  quidem 


abstraxit    nisi    ego  ?     Nam 


520  Scimus,  quam  misere  hanc  amarit.     Nunc  sibi  uxorem  40 

expetit. 

Postremo  id  mihi  da  negoti ;  tu  tamen  idem  has  nuptias 
Perge  facere  ita  ut  facis,  et  id  spero  adiuturos  decs. 
Si.     Immo  abi  intro.     Ibi  me  opperire  et  quod  parato  opus 
est  para.  [Exit  Davos  into  Simo's  house.] 

Non  inpulit  me,  haec  nunc  omnino  ut  crederem, 
525  Atque  baud  scio  an  quae  dixit  sint  vera  omnia.  45 

Sed  parvi  pendo;   illud  mihi  multo  maxumumst, 
Quod  mihi  pollicitust  ipse  gnatus.     Nunc  Cremem 
Conveniam,  orabo  gnato  uxorem.     Si  impetro, 
Quid  alias  malim  quam  hodie  has  fieri  nuptias  ? 
53°  Nam  gnatus  quod  pollicitust,  haud  dubiumst  mihi,          50 


520.  misere :    "  desperately." 

521.  id  negoti  =  id  negotium; 
for  the   case   of  negoti,   see  on 
aliquid    monstri    (250). — idem 
(masculine)     virtually     repeats 
the    idea    expressed    by   tamen; 
see  A.  &  G.  298  b,  B.  248,  Bu. 
726,  G.  310,  H.    &    B.    270   a, 
H.  508.  3,  L.  &  M.  1059. 

522.  facis :    for  the  long  ul- 
tima, see  on  322. 

523.  immo :  "  no  !  "  For  the 
use  of  this   word,  see   on    201. 

—  parato :      for    the    construc- 
tion, see  on  490. 

524.  omnino  :    "  wholly." 

525.  This    line    repeats    the 
idea    of    524    in    more    explicit 
form,     "  and     I     don't     know 


whether  everything  he  said  is 
true."  —  haud  scio  an  is  quite 
non-committal,  as  always  in 
early  Latin.  In  classical  Latin 
the  phrase  often  means  "  I 
am  inclined  to  think"  or  "per- 
haps." 

527.  quod   .   .    .   gnatus:   for 
the  substantive  ^wo^-clause,  see 
A.  &  G.  572,  B.  299.   i   a,  Bu. 
822,  G.  525.  2,  H.  &  B.  552.  i, 
H.  588.  3,  L.  &  M.  848. 

528.  gnato:   dative. 

529.  alias :       "  at       another 
time." 

530.  quod   is   here   a   relative 
whose   antecedent    id  is   to   be 
supplied    as    secondary    object 
of  cogere  (531). 


ACTUS  III,  SCENA  IX 


127 


35 


Si  nolit,  quin  eum  merito  possim  cogere. 

Atque  adeo  in  ipso  tempore  eccum  ipsum  obviam. 

SIMO         CREMES 

SENEX         SENEX 

[Enter  Cr ernes  from  the  right.] 
Si.     lubeo  Cremetem  ...     Cr.    [Interrupting.]     O  te  ipsum 

quaerebam.     Si.    Et  ego  te ;  optato  advenis. 
Cr.    Aliquot  me  adierunt,  ex  te  auditum  qui  aibant,  hodie 

filiam 

Meam  nubere  tuo  gnato ;   id  viso  tun  an  illi  insaniant. 
Si.     Auscultapauca;  et  quid  ego  te  velim  et  tu  quod  quaeris 

scies. 
Cr.    Ausculto;   loquere  quid  velis.  5 


532.  atque  adeo  is  here  equiv- 
alent to  adeo  in  415;  trans- 
late "  and  now."  —  eccum  ip- 
sum :  the  adverb  ecce,  "  lo,"  was 
often  used  with  video  (cf.  Ter- 
ence, Eun.  967,  ecce  autem 
video  rure  redeuntem  senem)  or 
in  place  of  it.  Consequently 
speakers  often  started  out  to 
say  ecce  hie,  then  thought  of  the 
equivalent  video  hunc,  and  so 
actually  said  ecce  hunc  (cf.  on 
quin  die,  45).  The  second  ele- 
ment of  eccum  is  *  hum,  the 
uncompounded  form  of  hun-c 
(compare  the  variation  between 
hae  and  hae-c  in  the  nominative 
plural  feminine).  Eccum,  from 
ecce  *hum,  differs  from  antehac, 


pronounced      antdc,    in      being 
spelled   phonetically.1 

ACT  III  SCENE  9 

533-  optato:  ablative  abso- 
lute used  impersonally,  vir- 
tually an  adverb ;  see  A.  &  G. 
419  c,  Bu.  568,  G.  410.  3  Note  4, 
H.  489.  7,  L.  &  M.  642. 

534.  aibant :    in  line  930  the 
imperfect  of  aio   is   aiebat;   see 
on  servibas  (38). 

535.  id :     explained    by    the 
following    indirect    question.  — 
viso :    for  the  meaning,  see  on 
reviso  (404). 

536.  quod    =   id     quod;      an 
indirect    question    would    make 
no  sense  here. 


1  Eum  would  have  been  too  colorless  a  word  to  use  with  ecce.    In  any  case 
ecce  eum  would  yield  a  trisyllable  *  ecceum. 


128 


TEREXTI   AXDRIA 


Si.     Per  te  deos  6ro  et  nostrum  amicitiam,  Cremes, 
Quae  incepta  a  parvis  cum  aetate  adcrevit  simul, 

540  Perque  unicam  gnatam  tuam  et  gnatum  meum, 

Quoius  tibi  potestas  summa  servandi  datur, 
Ut  me  adiuves  in  hac  re  atque  ita  uti  nuptiae 
Fuerant  futurae,  fiant.     Cr.    Ah,  ne  me  obsecra ; 
Quasi  hoc  te  orando  a  me  impetrare  oporteat. 

545  Alium  esse  censes  nunc  me  atque  olim  quom  dabam  ? 

Si  in  remst  utrique  ut  fiant,  accersi  iube. 
Sed  si  ex  ea  re  plus  malist  quam  commodi 
Utrique,  id  oro  te  in  commune  ut  consulas, 
Quasi  ilia  tua  sit  Pampilique  ego  sim  pater. 

550  Sz.     Immo  ita  volo  itaque  postulo  ut  fiat,  Creme, 

Neque  postulem  abs  te,  ni  ipsa  res  moneat.     Cr.    Quid 
est  ? 


538.  per  te  deos  oro  :    for  the 
order,    see    on    289.  —  Cremes  : 
for  the  form,  see  on  247. 

539.  a  parvis :    for  the  trans- 
lation, see  on  a  parvolo  (35). 

541.  quoius:  pronounced 
quois,  as  in  line  336;  see  on  eius 

(93)- 

543.  fuerant  futurae :  "  was  to 
be."  —  ne  obsecra  :  for  the  con- 
struction, see  on  ne  nega  (384). 

545.  olim  here  refers  to  a 
definite  time  (  =  illo  tempore) ; 
cf.  olli  =  illi,  Vergil,  Aen.  i.  254, 
etc.  —  dabam  :  the  imperfect 
is  used  of  an  act  in  progress  at 
some  moment  in  the  past,  even 
if  the  act  was  not  completed. 
The  usage  is  inaccurately  termed 
the  "  conative  imperfect." 


546.  in  rem :  "  to  the  ad- 
vantage." —  fiant :  sc.  nuptiae. 
—  accersi :  sc.  earn.  This  is 
the  usual  word  for  bringing 
home  the  bride.  For  the  form 
of  the  word,  see  on  515. 

548.  id,  the  object  of  oro,  is 
defined  by  the  following  ut- 
clause. 

550.  immo    ita    volo :     immo 
corrects  the  implication  of  sel- 
fishness in  Cremes'  request  that 
Simo  consider   the   interests   of 
them  both.     The  antecedent  of 
ita  is  the  request  itself.     Trans- 
late "  Why  !    That  is  precisely 
what  I  want."  —  Creme  :  for  the 
form,  see  on  247. 

551.  postulem,   moneat:    for 
the    present    subjunctive    in    a 


ACTUS  III,  SCENA  IX 


129 


Si.  Irae  sunt  inter  Glucerium  et  gnatum.  Cr.  Audio. 
Si.  Ita  magnae,  ut  sperem  posse  avelli.  Cr.  Fabulae  ! 
Si.  Profecto  sic  est.  Cr.  Sic  hercle  ut  dicam  tibi : 

Amantium  irae  amoris  integratiost. 
Si.     Em,  id  te  oro  ut  ante  eamus ;   dum  tempus  datur 

Dumque  eius  lubido  occlusast  contumeliis, 

Prius  quam  harum  scelera  et  lacrumae  confictae  dolis 

Redducunt  animum  aegrotum  ad  misericordiam, 

Uxorem  demus.     Spero  consuetudine  et 

Coniugio'liberali  devinctum,  Cremes, 

Dein  facile  ex  illis  sese  emersurum  malis.  ; 

Cr.    Tibi  ita  hoc  videtur;   at  ego  non  posse  arbitror 

Neque  ilium  hanc  perpetuo  habere  neque  me  perpeti. 


contrary  to  fact  condition  and 
conclusion,   see   on    sis,   sentias 


552.  audio,   "  of   course,"    is 
ironical. 

553.  fabulae:    for  the  mean- 
ing, see  on  224. 

556.  em  :  "  here,"  or,  perhaps 
better,  "  listen."    The  logical  ob- 
ject  is   the   following   sentence. 
For  the  etymology  and   use  of 
em,   see   on    351.  —  id    is    used 
precisely  as  in  548. 

557.  eius  is   a  monosyllable, 
as  in  93. 

559.  redducunf*  consult  the 
dictionary  under  the  classical 
form,  reduco,  —  aegrotum  :  for 
the  meaning,  see  on  193. 

561.  coniugio  liberali  :  "  mar- 
riage with  a  lady  "  ;  for  the 
meaning  ofliberalis,  cf.  on  123. 

TER.  ANDRIA  —  9 


562.  dein :  a  monosyllable ; 
see  on  dehinc  (79).  —  sese 
emersurum :  the  verb  is  more 
commonly  intransitive. 

563  f.  non  posse  neque  ilium 
.  .  .  neque  me :  the  pronouns 
are  subjects  of  posse.  Non  posse 
neque  means  "  can't  not  do  so 
and  so,"  i.e.,  "can't  help"; 
compare  Cicero,  Ad.  Fam.  9.  14. 
I,  non  possum  non  confiteri. 
Translate  "  but  I  think  he  can't 
help  keeping  this  woman  for 
good  and  all,  and  I  can't  help 
allowing  it."  Others  prefer  to 
understand  eum  sese  emergere 
with  posse  and  posse  with  habere 
and  perpeti.  They  translate 
"  but  I  think  he  can't  escape 
from  his  troubles  and  that  nei- 
ther can  he  keep  Glucerium  per- 
manently nor  can  I  endure  it." 


1 3o 


TERENTI   ANDRIA 


3S 


565  St.     Qui  scis  ergo  istuc,  nisi  periclum  feceris  ? 
Cr.    At  istuc  periclum  in  filia  fieri  gravest. 
St.     Nempe  incommoditas  denique  hue  omnis  nclit, 
Si  eveniat,  quod  di  prohibeant,  discessio. 
At  si  corrigitur,  quot  commoditates,  vide  ! 
57°  Principio  amico  filium  restitueris, 

Tibi  generum  firmum  et  filiae  invenies  virum. 
Cr.    Quid  istic  ?     Si  ita  istuc  animum  induxti  esse  utile  40 

Nolo  tibi  ullum  commodum  in  me  claudier. 
St.     Merito  te  semper  maxumi  feci,  Creme. 
575  Cr.    Sed    quid    ais  ?     St.    Quid  ?     Cr.  Qui    scis    eos    nunc 

discordare  inter  se  ? 

St.     Ipsus  mihi  Davos,  qui  intumust  eorum  consiliis,  dixit; 
Et   is    mihi    suadet    nuptias    quantum    queam   ut   ma- 45 

turem. 
Num  censes  faceret,  filium  nisi  sciret  eadem  haec  velle  ? 


565.  periclum:  "experi- 
ment." The  word  is  a  deriva- 
tive of  the  verb  which  appears 
in  the  compound  ex-perior,  with 
the  instrument  suffix  -do-;  for 
the  latter,  see  on  131. 

568.  discessio :  colloquial 
Latin  makes  more  use  of  ab- 
stracts in  -io  than  the  formal 
language.  The  usual  word  in 
this  sense  is  divortium. 

570.  restitueris :  the  future 
perfect  is  coupled  with  the  fu- 
ture invenies;  see  on  ceperit 

(213). 

572.  quid  istic:  "what  in 
that  case  (is  one  to  say)?"  It 
is  a  common  formula,  when  the 
speaker  is  about  to  yield  to  his 


opponent  in  a  dispute.  Trans- 
late "  Have  your  way." 
induxti :  for  the  form,  see  on 
praescripsti  (151).  For  the 
phrase  animum  inducere,  see  the 
dictionary  under  induco. 

573.  in  me  is  here  virtually 
equivalent  to  per  me.  —  clau- 
dier :  for  the  form,  see  on  de- 
ludier  (203). 

575.  quid  ais  looks  forward; 
see  on  137. 

576.  eorum  :  for  the  prosody, 
see     Introduction      19     end.  — 
consiliis :   for  the  case,  see  A.  & 
G.   384,    B.    192,    Bu.    487,   G. 
359,  H.  &  B.  362,  H.  434>  L.  & 
M.  536. 

578.    censes  is  parenthetic. 


ACTUS  III,  SCENA  X 


So 


Tute  adeo  iam  eius  verba  audies.     [Opens  the  door  of  his     f\ 

house,  and  calls.]     Heus,  evocate  hue  Davom. 
Atque  eccum  video  ipsum  foras  exire. 

-^/-    ' 

DAVOS  SIMO          CREMES 

SERVOS  SENEX          SENEX 

[Enter  Davos  from  Simo's  house.] 

Da.    [To  Simo.]      Ad  te  ibam.      Si.   Quid  namst  ? 
Da.   Cur    uxor    non    accersitur  ?     Iam    advesperascit.      Si. 

[Apart  to  Cremes.]     Audin  ? 
[To  Davos.]     Ego  dudum  non  nil  veritus  sum,   Dave, 

abs  te,  ne  faceres  idem, 
Quod  volgus  servorum  solet,  dolis  ut  me  deluderes, 


579.  adeo  :   "  too." 

580.  eccum :       for   the  form 
and    meaning,    see    on    532.  — 
foras    is    the    accusative    of    a 
noun  *forae,  equivalent  to  fores, 
"  door."     The  accusative  of  the 
end   of  motion,  foras,  "  out  of 
doors,"   and    the  locative  abla- 
tive, foris,  were  the  only  cases 
of  the  word  that  survived. 

ACT  III  SCENE  10 

581.  accersitur:        for       the 
meaning,  see  on  546.  —  adves- 
perascit :       the     wedding     pro- 
cession started  about  sunset. 

582.  dudum :        "  a-       while 
ago  "  ;    i.e.,  at  the  close  of  their 
last    interview,   in    line    523.  — 
veritus  sum :    the  short  ultima 
is  probably  due,  not  to  the  iam- 


bic law,  which  does  not  very 
often  shorten  the  final  syllable 
of  a  trisyllable,  but  to  the  weak 
pronunciation  in  early  Latin 
of  final  /  after  a  short  vowel 
when  the  next  word  begins  with 
a  consonant.  There  is  abun- 
dant evidence  of  this  peculiarity 
outside  of  the  dramatists,  and 
in  Plautus  and  Terence  there 
are  a  number  of  passages  where 
final  syllables  of  this  type  have 
to  be  scanned  short  although 
the  conditions  of  the  iambic 
law  are  not  fulfilled.  In  many 
other  cases,  as  patris  pudor 
(262),  magls  lubido  (308),  either 
method  of  shortening  or  both 
of  them  may  be  involved. 

583.    volgus          servorum: 
"  the  common  run  of  slaves." 


132  TEREXTI   ANDRIA 

Propterea  quod  amat  filius.     Da.  Egon  istuc  facerem  ?  s 

Si.    Credidi, 
585  Idque  adeo  metuens  vos  celavi,  quod  nunc  dicam.     Da. 

Quid  ?     Si.    Scies ; 
Nam    propemodum    habeo    iam    fidem.     Da.    Tandem 

cognosti  qui  siem  ? 
Si.    Non  fuerant  nuptiae  futurae.     Da.    Quid  ?     Non  ?     Si. 

Sed  ea  gratia 
Simulavi,  vos  ut  pertemptarem.     Da.   Quid    ais  ?     Si. 

Sic  res  est.     Da.    Vide  ! 
Numquam  istuc  quivi  ego  intellegere.     Yah,  consilium  10 

callidum  ! 
Hoc  audi :    ut  hinc  te  intro  ire  iussi,  opportune  hie  fit 

mi     obviam.     Da.    [Aside,     with     genuine     alarm.} 

Hem, 
Num  nam  perimus  ?     Si.    Narro  huic,  quae  tu  dudum 

narrasti  mihi. 
Da.   [Aside.]     Quid  nam   audio  ?     Si.    Gnatam   ut  det  oro, 

vixque  id  exoro.     Da.    [Aside;   but  Simo  hears  and 

almost  understands.}     Occidi.     Si.     Hem, 

584.    filius :     for   the    pyrrhic          589.    vah :       an     interjection 

before  the  diaeresis,  see  Intro-  with    a    wide    range    of    mean- 

duction      22.  —  facerem :      for  ing.     Here  it  expresses  admira- 

the    mood,    see    on    ut    advorser  tion. 

(263).     The  tense    is    imperfect  590.    hie:     that    Simo   should 

because    Davos    is    talking    of  mention    Cremes    in    this    con- 

Simo's    past    expectations.  nection     is    enough     to     arouse 

586.  qui   =  qualis.  Davos'    alarm.     We    need    not 

587.  fuerant  futurae :     "  was  assume   that    Davos   has   failed 
going  to  be."    —  ea  gratia  :     for  to  see  Cremes  until  now. 

the  meaning,  see  on  433.  591.    perimus     is    most    nat- 

588.  quid     ais     looks     back-  urally  taken   as    a  perfect,  con- 
ward ;       see     on     137.  —  vide:  tracted     from     perilmus.  —  du- 
"  Fancy  that !  "  dum  :  as  in  582. 


ACTUS  III,  SCENA  X 


133 


Quid  dixti  ?     Da.    Optume  inquam  factum.     Si.     Nunc 

per  hunc  nullast  mora. 
Cr.     Domum   modo  ibo,   ut   apparentur  dicam,   atque   hue  is 

renuntio.     [Exit  right.] 
95  Si.     Nunc  te  6ro,  Dave,  quoniam  solus  mi  effecisti  has  nup- 

tias  .  .  . 
Da.   [Aside.]     Ego  vero  solus!     Si.    .  .  .  corrigere  mihi  gna- 

tum  porro  enitere. 
Da.    Faciam  hercle   sedulo.     Si.    Potes   nunc,  dum   animus 

mritatus  est. 
Da.  Quiescas.     Si.    Age   igitur,    ubi   nunc   est   ipsus  ?     Da. 

Mirum  ni  domist. 
Si.     Ibo  ad  eum  atque  eadem  haec,  tibi  quae   dixi,  dicam  20 

idem  illi.     [Exit  into  his  house.]     Da.    Nullus  sum. 
oo          Quid  causaest,  quin  hinc  in  pistrinum  recta  proficiscar 

via  ? 


593.  dixti:      for    the     hiatus 
after  the  word,  see  Introduction 
20.  —  optume  :     Davos     means 
that  he  had    said  just  this  one 
word,  a  word  which  is  identical 
with    occidi     in     initial     vowel 
and  rhythm.     He  now  amplifies 
his  remark   to  make   it   clearer 
to   Simo. 

594.  modo  :  "  merely,  just  "  ; 
so   again  in  line   630.  —  appa- 
rentur :    the  subject  is  personal : 
the  bride,  her  mother,  and  all 
others    in    the    household    who 
would  take  part  in  the  wedding 
festivities.  —  renuntio  :    present 
for  future;    see  on  fit  (244). 

598.    quiescas  :       the  present 
subjunctive    is    used    freely    in 


colloquial  Latin  to  express  a 
command.  We  noted  the  nega- 
tive form  of  the  construction  in 
line  205.  —  mirum  ni,  "doubt- 
less," is  a  common  colloquial- 
ism. The  literal  translation, 
"it's  strange  if  .  .  .  not  .  .  .  ," 
carries  a  suggestion  of  insolence 
that  is  not  necessarily  present 
in  the  Latin. 

599.  idem :    for  the  meaning, 
see  on  521.  —  nullus  sum:    for 
the  weak  final  s,  see  on  veritus 
sum      (582).     The      phrase     is 
colloquial,   and    means    "  I   am 
done  for." 

600.  quid       causaest,       quin 
proficiscar :     "  what    reason    is 
there  why  I  should  not  go  ? "  = 


134  TERENTI   ANDRIA 

Nihil  est  preci  loci  relictum.     lam  perturbavi  omnia  : 

Erum  fefelli ;   in  nuptias  conieci  erilem  filium ; 

Feci  hodie  ut  fierent,  insperante  hoc  atque  invito  Pam- 

pilo. 

Em  astutias  !     (Juotl  si  quiessem,  nil  i-vt-nissct  mail. 
[Pampilus  appears  at  the  door  of  Simo's  house  and  looks 
about  without  seeing  Davos.] 
605  Sed  eccum  video  ipsum.     Occidi. 

Utinam  mi  asset  aliquid  hie,  quo  nunc  me  praecipitem 
darem  ! 

PAMPILUS  DAVOS 

ADULESCENS  SERVOS 

[Pampilus  closes  the  door  and  advances.     Davos  keeps  out  of 
his  si^ht.] 
Pa.    Ubi    ille    est    scelus,    qui    perdidit    me  ?     Da.    [Aside.] 

Perii.     Pa.    Atque  hoc  confiteor  iure 
Mi  obtigisse,  quandoquidem  tarn  iners,  tam  nulli  consili 
sum. 

"  why  shouldn't    I    go  ? "     The  "  There's  cunning  for  you."  • 

mood    of   proficiscar    is    of   the  quod  si :    for  the  meaning,  see 

same  nature  as  that  of  credas  on  quod  (258). 
(499).  606.    aliquid:    "something"; 

602.    in     nuptias     conieci     is  i.e.,  a  sword,  an  abyss,  a  lake.  — 

intended  to  suggest  the  phrase  quo  means  "  whither,"  i.e.,  "  on 

in     vincula     conicere.  —  erilem  (into)  which." 
filium  =  eri  filium.     Possessive 
adjectives     are     comparatively 

common    in    colloquial    Latin ;          607.    scelus,  in  the  figurative 

e.g.,  paternus  =  patris,  alienus,  sense  of  "  scoundrel,"  is  mascu- 

"  another's."     Compare  also  the  line.  —  atque:     for  the   transla- 

adjective  quoins  (763,  etc.).  tion,  see  on  225. 

604.    astutias :    for   the  case,          608.    nulli :   adjectives    whose 

see    on    em     (351);     translate  genitive    usually    ends    in    -ius 


ACTUS  III,  SCENA  XI  135 

Servon  fortunas  meas  me  commisisse  futtili  ! 
10  Ego  pretium  ob  stultitiam  fero;   sed  inultum  numquam 

id  auferet. 
Da.   [Aside.]     Posthac  me  incolumem  sat  scio  fore,  nunc  si  5 

devito  hoc  malum. 
Pa.    Nam  quid  ego  nunc  dicam  patri  ?     Negabon  velle  me, 

.  modo 
Qui   sum  pollicitus  ducere  ?    Qua  facie   facere  id  au- 

deam  ? 
Nee  quid  me  nunc  faciam  scio.     Da.    [Aside.]     Nee  me 

quidem,  atque  id  ago  sedulo. 

15  Dicam  aliquid  me  Inventurum,  ut  huic  malo  aliquam 

producam  moram.     Pa.    [Catching  sight  of  Davos.] 
Oh! 
Da.   Visus  sum.     Pa.    Eho  dum,  bone  vir,  quid  ais  ?     Viden  10 

me  tuis  consiliis  miserum 

Inpeditum    esse  ?     Da.    At    Jam    expediam.      Pa.    Ex- 
pedies  ?     Da.    Certe,  Pampile. 

occasionally    show    the    regular  before    the    diaeresis,    see    In- 
forms  of  the   first   and   second  troduction  22. 
declension  in  early  Latin.  614.    me:      an     ablative     of 

609.  commisisse :       for     the  instrument ;      translate     "  with 
mood,  see  on  adeon  hominem  esse  myself."     This    idiom    is    more 
(245).  —  futtili:      this      charac-  common     in     colloquial     Latin 
terization,    supplied     after    the  than  the  dative  which  we  have 
close    of   the    sentence    proper,  noticed      in      illi      (143)-     For 
has  almost  the  force  of  an  inde-  the  quantity  of  the  me  before 
pendent  statement.  quidem,  see  on  slquidem   (465). 

610.  inultum      id       auferet:  — id  ago:  for  the  meaning,  see 
"  get  away  with  it."  on  agis  (186). 

611.  malum:     for  the  mean-  617.    inpeditum,       expediam: 
ing,  see  on  179.  the    derivation    of    the    verbs 

613.    ducere :     for   the   tense,       in-pedire     and    ex-pedire     from 
see    on    379.     For    the    pyrrhic      pes,  "  foot,"  was  always  present 


136 


TERENTI   ANDRIA 


Pa,    Nempe  ut  modo.     Da.    Immo  melius  spero.     Pa.   Oh, 

tibi  ego  ut  credam,  furcifer  ? 
Tu   rem   inpeditam   et   perditam    restituas  ?     Em    quo 

fretus  sim, 
620          Qui  me  hodie  ex  tranquillissuma  re  coniecisti   in  nup- 

tias  ! 
An    non    dixi    esse     hoc    futurum  ?     Da.    Dixti.     Pa. 

Quid  meritu's  ?     Da.    Crucem. 
Sed   sine   paululum   ad   me   redeam;    iam   aliquid   dis- 

piciam.     Pa.    Ei  mihi, 


to  the  consciousness  of  the 
Romans,  even  in  passages  where 
we  have  to  use  a  more  abstract 
expression.  Here  we  have  the 
full  original  force  of  the  verbs ; 
"  I've  got  my  foot  in  a  snare," 
"  I'll  get  you  loose."  The 
vaguer  secondary  use  is  illus- 
trated by  rem  inpeditam  (619). 

618.  ut     credam :      for     the 
mood,  see  on  ut  advorser  (263). 
—  furcifer  :   "  scoundrel,"    liter- 
ally     "  fork-bearer."        Slaves 
were   often   punished    by   being 
compelled  to  wear  a  fork-shaped 
wooden    yoke,    the    prongs    of 
which     were     bound     to     their 
hands. 

619.  restituas  is  in  the  same 
construction  as  credam  (618). — 
em     quo     fretus     sim :     em     is 
here  equivalent  to  vide,  as  often 


(see  on  351),  and  is  followed 
by  an  indirect  question.1  For 
the  short  final  syllable  of  fretus, 
see  on  veritus  sum  (582). 

620.  The     words     ex     tran- 
quillisuma   re    coniecisti   in    in- 
volve a  metaphor  from  the  sea, 
and  the  hearer  will  expect  some 
such    word    as    scopulos.     Pam- 
pilus,  however,  substitutes  what 
seems  to  him  the  most  effective, 
because    most    terrible,    climax 
of  all.     Compare    the   different 
suggestion  of  the  verb  conicert 
in  line  602  (see  the  note  on  that 
passage). 

621.  meritu's  =  meritus     es ; 
for    the    form,    see    on    dictust 
(102).     For  the  translation,  see 
on  commerui  (139). 

622.  ad    me:     for  the  mean- 
ing, compare  apud  te  (408). 


1S>o  Bennett,  Syntax  of  Early  Latin  1.336.    A  subjunctive  of  characteristic 
would  scarcely  be  possible  here. 


ACTUS  III,  SCENA  XI  137 

Quom  non  habeo  spatium,  ut  de  te  sumam  supplicium, 

ut  volo  ! 
Namque    hoc    tempus    praecavere    mihi    me,    haud    te 

ulcisci  sinit.  [Exeunt  into  Simo's  house.] 

623.  habeo :     for   the   mood,  sentence,    and    then    uses    one 
see  on  quom  videt  (242).  that    fits    the   second    infinitive 

624.  The  context  requires   a  but  not  the  first.     The  psycho- 
verb  like  cogit  to  govern  prae-  logical  process  is  similar  to  that 
cavere.     Pampilus  postpones  his  involved  in  contamination  (see 
main   verb   till   the   end   of  the  on  quin  die,  45). 


ACTUS  IV 


CARINUS 
ADULESCENS 


PAMPILUS        DAVOS 
ADULESCENS      SERVOS 


[Enter  Carinus  from  the  right.} 
625  Ca.    Hoccinest  credibile  aut  memorabile, 

Tanta  vecordia  innata  quoiquam  ut  siet, 
Ut  mails  gaudeant  atque  ex  incommodis 
Alterius  sua  ut  comparent  commoda  ?     Ah, 
Idnest  verum  ?    Immo  id  est  genus  hominum  pessumum,  5 
in 


ACT  IV  SCENE  i 

625.  hoccinest :  for  koccine, 
see  on  186.  For  the  quantity 
of  est,  see  Introduction  19 
end.  Cretic  words  (_w_) 
often  have  their  final  syllable 
shortened  in  Plautus'  anapaests 
and  occasionally  in  his  dactyls. 
This  one  tetrameter  is  the  only 
dactylic  line  in  Terence,  and  he 
uses  no  anapaests  at  all.  For 
the  contrasting  usage  in  iambic 
and  trochaic  rhythm,  see  on 
veritus  sum  (582) ;  but  compare 
hoccinest  in  iambic  rhythm  in  line 
236.  —  memorabile:  "capable of 
being  described." 

626  ff.  For  the  cretic  tetram- 
eters, see  Introduction  28. 


626.  ut  siet  is  a  substantive 
clause    of   result    in    apposition 
with  hoc  cine  (625). 

627.  The  subject  of  gaudeant 
is  the  same  as  the    antecedent 
of     quoiquam.       Carinus    shifts 
from  a  singular  form  of  expres- 
sion with   quisquam   "  anyone  " 
to  a  (nearly)  equivalent  plural 
expression.       For    the    psycho- 
logical process  involved  in  such 
contamination,  see  on  quin  die 

(45). 

628.  alterius,  like  ullius,  etc., 
is    regular    except    in    dactylic 
verse,  where  it  is  impossible. 

629.  For  the  scansion  of  this 
line,     see     Introduction     28.  — 
verum:   "  just."   —  immo  :  "no 
indeed  !  " 


138 


ACTUS  IV,  SCENA  I 


139 


55 


a 

J8h 


° 


Denegando  modo  quis  pudor  paulum  adest; 

Post  ubi  tempus  promissa  iam  perfici, 

Turn  coacti  necessario  se  aperiunt. 

Et  timent  denegare  et  tamen  res  premit. 

Ibi  turn  eorum  inpudentissuma  oratiost :  ic 

'Quis  tu  's  ?     Quis  mi  's  ?     Cur  meam  tibi  ? 

Heus,  proxumus  sum  egomet  mihi.' 

At  tamen  'ubi  fides  ?'  si  roges, 

Nil  pudet  hie  ubi  opust ;   illi  ubi 

Nil  opus  est,  ibi  verentur. 

Sed  quid  agam  ?     Adeamne  ad  eum  et  cum  eo  iniuriam  15 

hanc  expostulem  ? 
Ingeram   mala   multa  ?     Atque   aliquis  dicat   'nil   pro- 

moveris.' 


630.  modo :  "  merely."  The 
ultima  here  retains  its  original 
long  quantity.  —  quis  (  =  qui- 
bus)  is  the  dative-ablative  plural 
of  the  o-stem ;  contrast  qui 
( =  quo),  which  is  the  ablative 
singular  of  the  {-stem.  Trans- 
late the  line  "  who  are  a  little 
ashamed  of  just  one  thing,  to 
say  '  no.'  " 

635.  Here  Carinus  drops  the 
ponderous  cretics  and  his  lofty 
moralizing     in     general     terms. 
The  ingenuous  omission  of  the 
substantive  with  meam  amounts 
to   admitting   that   all   the   fine 
talk  has  really  been  about  —  a 
girl.     What  verb  is  to  be  sup- 
plied in  the  third  question  ? 

636.  heus:      an    interjection 


used  normally  to  attract  a 
person's  attention,  "  Ho  there  !  " 
Often,  as  in  this  passage,  it 
interposes  a  protest;  translate 
"  Here  !  " 

638.  hie  and  illi  are  adverbs. 
With    illi  =  illi-c    as    the   loca- 
tive adverb,  compare  illo  (362) 

=  illo-c  =  illuc.  —  verentur : 
"  are  scrupulous." 

639.  expostulem  :  "  complain 
of." 

640.  mala  :    "  insults."  —  at- 
que :    for  the  meaning,   see  on 
225.  —  dicat :   for  the  mood,  see 
A.  &  G.  447,  B.  280.  i,  G.  257, 
H.  &  B.  517.  i,  H.  552,  sss,  L. 
&  M.  718.  —  promoveris  :      for 
the  tense,  see  on  ce peril  (213) ; 
translate  "  accomplish." 


140 


TERKXTI    AXDRIA 


Multum  !     Molestus  certe  ei  fuero  atque  animo  morem 

gessero. 

[Enter  Pampilus  and  Davos  from  Simo's  house.] 
Pa.    Carine,  et  me  et  te  inprudens,  nisi  quid  di  respiciunt, 

perdidi. 
Ca.    [With     bitter     irony.}     Itane      ' inprudens'  ?     Tandem 

inventast  causa.     Soluisti  fidem. 
Pa.   Quid    'tandem'?     Ca.    Etiam    nunc    me    ducere    istis  20 

dictis  postulas  ? 
645  Pa.   Quid  istuc  est  ?     Ca.    Postquam  me  amare  dixi,  con- 

placitast  tihi. 
Heu  me  miserum,  qui  tuom  animum  ex  animo  spectavi 

meo  ! 
Pa.    Falsu's.     Ca.    Nonne  tibi  sat  esse  hoc  visum  solidumst 

gaudium, 
Nisi  me  lactasses  amantem  et  falsa  spe  produceres  ? 


641.  fuero  and  gessero  have 
the    same    temporal     force    as 
promoveris     (640). — animo     is 
virtually    equivalent    to     mihi. 
Compare  the  common  periphra- 
sis with  animus,  as  in  Livy,  21. 
22.  I,  ad  sollicitandos  principum 
animos,    which    differs    only   in 
preposition      and      substantive 
from   Livy,   21.    2.    7,    in    solli- 
citandis  gentibus. 

642.  Pampilus      hastens      to 
make  his  confession  as  soon  as 
he  sees  Carinus.  —  respiciunt : 
sc.  nos. 

643.  soluisti     fidem:      "you 
have  performed  your  promise." 
The  compound  exsolvere  is  more 


usual  in  this  sense,  but  solvere 
very  frequently  means  "  pay," 
and  is  used  with  fidem  as  object 
in  Ov.,  Fast.  i.  642,  and  else- 
where. 

644.  ducere  :      for  the  mean- 
ing,    see     on     duci     (180).  — 
postulas :     "  expect." 

645.  conplacitast :    this   verb 
is  usually  active,  but  here  it  is 
deponent.     The     prefix     is     in- 
tensive. 

646.  spectavi :         "  judged." 
Carinus  regrets  that  he  should 
have  thought  Pampilus  as  hon- 
orable as  himself. 

648.    lactasses,      produceres : 
for    the    pluperfect    subjunctive 


ACTUS  IV,  SCENA  I 


141 


;o 


Habeas.     Pa.    Habeam  ?     Ah,  nescis  quantis  in  malis  25 

vorser  miser, 

Quantasque  hie  suis  consiliis  mihi  conflavit  sollicitudines 
Meus  carnufex.     Ca.   Quid  istuc  tam  mirumst,  de  te  si 

exemplum  capit  ? 
Pa.    Haud   istuc   dicas,    si    cognoris    vel    me    vel    amorem 

meum. 
Ca.    [Ironically.]     Scio;    cum  patre  altercasti  dudum,  et  is 

nunc  propterea  tibi 

Suscenset  nee  te  quivit  hodie  cogere  illam  ut  duceres.      30 
!5  Pa.    Immo  etiam  (quo  tu  minus  scis  aerumnas  meas) 
Haec  nuptiae  non  adparabantur  mihi, 
Nee  postulabat  nunc  quisquam  uxorem  dare. 
Ca.    Scio;  tu  coactus  tua  voluntate  es.     [Turns  away.]     Pa. 
Mane. 


representing  a  future  perfect 
and  the  imperfect  representing 
a  future  from  a  past  point  of 
view,  see  on  abiret  (175). 

649.  habeas  :  the  subjunc- 
tive expressing  a  command 
(see  on  quiescas,  598),  like 
the  imperative,  is  often  weak- 
ened into  an  expression  of  per- 
mission or  indifference.  —  ha- 
beam  :  for  the  mood,  see  on 
essem  (282). 

651.  carnufex:  for  the  mean- 
ing, see  on  183. 

652.  dicas,     cognoris  :        for 
the   tenses,    see   on   sis,   sentias 


653.    altercasti  :       the      verb 
is  usually    deponent.     Contrast 

conplacitast  (645). 


655.  Translate  "  Worse  yet ! 
(and     that's     the     reason     you 
don't  understand  my  troubles.)" 
Immo  introduces   a    correction, 
as  always.     Etiam  with  immo  is 
usually    additory   or    intensive, 
and  the  phrase  often  gets  from 
the  context  the  unfavorable  im- 
plication that  it  has  here  and  in 
lines    673    and    708    below.     In 
Plautus,  Rud.  441,  immo  etiam 
means  "better  than  that."    The 
antecedent  of  quo  (an  ablative  of 
cause  or  of  degree  of  difference) 
is  the  new  information  promised 
by  immo  etiam  and  given  in  the 
next   line.     Minus  is   a   strong 
negative,  as  in  line  197. 

656.  haec  =  hae. 

657.  postulabat:     as   in   644. 


142  TERENTI   ANDRIA 

Non  dum  scis.     Ca.    Scio  equidem  illam  ducturum  esseas 

te. 

660  Pa.    Cur  me  enicas  ?     Hoc  audi :   numquam  destitit 
Instare,  ut  dicerem  me  ducturum  patri ; 
Suadere,  orare  usque  adeo  donee  perpulit. 
Ca.    Quis     homo     istuc  ?     Pa.    Davos.     Ca.    Davos  ? 

Quam  6b  rem  ?     Pa.    Nescio, 

Nisi  mi  decs  fuisse  iratos,  qui  auscultaverim.  4° 

665  Ca.    Factumst  hoc,  Dave  ?     Da.  Factumst.     Ca.  Hem,  quid 

ais,  scelus  ? 

At  tibi  di  dignum  factis  exitium  duint ! 
Eho,  die  mihi,  si  omnes  hunc  coniectum  in  nuptias 
Inimici  vellent,  quod  nisi  hoc  consilium  darent  ? 
Da.    Deceptus  sum,    at    non    defetigatus.     Ca.    [Ironically.]  45 

Scio. 

670 Da.    Hac  non  successit,  alia  adgrediemur  via: 
Nisi  id  putas,  quia  primo  processit  parum, 
Non  posse  iam  ad  salutem  convorti  hoc  malum. 
Pa.    Immo  etiam  !     Nam  satis  credo,  si  advigilaveris, 

Ex  unis  geminas  mihi  conficies  nuptias.  50 

675  Da.  Ego,  Pampile,  hoc  tibi  pro  servitio  debeo, 
Conari  manibus  pedibus  noctisque  et  dies, 
Capitis  periclum  adire,  dum  prosim  tibi ; 

660.    enicas :       "  plague      to  occurs   (in   compounds)    several 

death,"    a    common    colloquial-  times  in  Plautus. 

ism.      The  word  is  an  intensive  670  f.    successit  and  processit 

compound  of  neco,  "  kill."  are  both  impersonal.    Cf.  succes- 

664.    nisi    after    nescio    with  sisse  in  Suetonius'  Life  of  Terence 

ellipsis    of   scio    is    common    in  4,  Introduction  page  46,  1.  5. 

colloquial  Latin ;  translate  "  ex-  673.    immo    etiam :     for    the 

cept  that."  meaning,  see  on  655. 

666.    duint    is    the    subjunc-  675.    pro    servitio:     "  as  your 

tive  of  duo,  an  early  Latin  vari-  slave  "  ;      literally    "  in     virtue 

ant    of    do,    whose     indicative  of    my     slavery." 


ACTUS  IV,  SCENA  II 


143 


Tuomst,  si  quid  praeter  spem  evenit,  mi  ignoscere. 
Parum  succedit  quod  ago;   at  facio  sedulo. 
Vel  melius  tute  reperi,  me  missum  face. 
Pa.    Cupio;   restitue  quern  a  me  accepisti  locum. 

Faciam.     Pa.   At  iam    hoc   opust.     Da.    Hem  !  —  Sed 

mane;   crepuit  a  Glucerio  ostium. 
Nihil  ad  te.     Da.   Quaero.     Pa.    Hem,  huncin  demum  ? 

Da.   At  iam  hoc  tibi  inventum  dabo. 


Da. 


Pa. 


Musis 

ANCILLA 


PAMPILUS 
ADULESCENS 


CARINUS 
ADULESCENS 


DAVOS 

SERVOS 


[Enter  Musis  from  Glucerium's  house.] 

Mu.  [To  Glucerium  within.}     Iam  ubi  ubi  erit,  inventum  tibi 
curabo  et  mecum  adductum 


680.  vel,  "  or,  if  you  like," 
introduces  the  alternative  to 
tuomst  .  .  .  ignoscere  (678).  — 
missum  face  is  somewhat 
stronger  than  mitte  or  omitte. 
Such  periphrases  are  particu- 
larly common  in  colloquial 
Latin ;  compare  inventum  dabo 
(683)  and  inventum  curabo 
(684).  The  original  forms 
face,  dice,  and  duce  are  occa- 
sionally used  by  Plautus  and 
Terence.  For  the  loss  of  the 
short  final  vowel,  see  on  in- 
tellextin  (201)  and  poste  (509). 

682.  crepuit :  the  noise  of 
an  opening  door  is  often  re- 
ferred to  in  the  comedies  as 
indicating  that  some  one  is 
about  to  come  from  a  house. 
Compare  Introduction  page  29. 


The  i  of  the  third  person  singu- 
lar perfect  is  often  long  in  early 
Latin  and  occasionally  in  later 
poetry.  It  was  originally  short, 
but  was  sometimes  lengthened 
under  the  influence  of  the  first 
person. 

683.  nihil  ad  te :    sc.  attinet. 
—  quaere :       sc.      consilium.  — 

nuncin:  nunc  is  from  num 
(compare  turn,  tune  "  then  ") 
and  the  demonstrative  particle 
ce.  For  the  change  of  ce  to  ci 
before  the  interrogative  particle, 
see  on  hoccine  (186). 

ACT  IV  SCENE  2 

684.  ubi  ubi,  "  wherever,"  is 
like  quisquis,  "  whoever,"    quo- 
quo,  "  whithersoever,"     ut     ut, 
"  however,"       etc.  —  inventum 


144 


TEREXTI   AXDRIA 


685  Tuom  Pampilum  ;   modo  tu,  anime  mi,  noli  te  macerare. 

Pd.    Musis.     Mu.   Quis  est  ?     Ehem  Pampile,  optume  mihi 

te  offers.     Pa.    Quid  id  est  ? 
Mu.  Orare  iussit,  si  se  ames,  era,  iam  ut  ad  sese  venias ; 

Videre  aft  te  cupere.     Pa.    [Aside.]     Vah,  peril  !     Hoc 

malum  integrascit. 
[To   Davos.]     Sicine    me    atque   illam   opera   tua    nunc 

miseros  sollicitari  ! 

690          Nam  idcirco  accersor,  nuptias  quod  mi  apparari  sensit. 
Ca.    Quibus    quidem    quam    facile    potuerat    quiesci,    si    hie 

quiesset  ! 

Da.    [Aside  to  Carinus.]     Age,  si  hie  non  insanit  satis  sua 
sponte,  instiga!     Mu.    Atque  edepol 


curabo :     see    on     missum  face 
(680). 

685.  anime:  "sweetheart." 
—  te  macerare :  a  homely 
metaphor,  which  cannot  be 
kept  in  English ;  the  verb  means 
"  freshen  salt  meat  by  steep- 
ing it." 

688.  vah  here  expresses  grief 
and       anxiety.    —    integrascit : 
"  begins  again  "  ;    compare  the 
common  phrase  de  integro,  "  from 
the  beginning,  anew." 

689.  sicine :      sic    is    from    si 
(originally    meaning    "  in    this 
case,    thus ")    and  the    demon- 
strative   particle    ce    (cf.    illl  = 
illic).     For    the    change    of    ce 
to    ft-,   see    on    hoccine    (186). 
With  this  word,  compare  nun- 
cin  (683). 

691.    quibus :    the  antecedent 


is  nuptias.  The  ablative  with 
quiesci  is  rare;  it  rests  upon  the 
analogy  of  the  ablative  with 
vacare.  —  quiesci  is  impersonal ; 
translate  "  As  to  that,  how 
easily  we  could  have  had 
peace  !  "  —  hie  refers  to  Davos. 

692.  The  seven  sibilants  sug- 
gest that  Davos'  ironical  rebuke 
is  spoken  through  the  teeth. 
One  rarely  finds  so  marked  a 
case  of  alliteration  in  Terence; 
he  made  very  much  less  use  of 
this  rather  cheap  device  than 
most  other  early  Latin  poets. 
By  way  of  contrast,  compare 
Ennius'  hexameter  {Ann.  109 
Vahlen):  0  Tite  lute  Tati  tibi 
tanta,  turanne,  tulisti  !  —  hie  re- 
fers to  Pampilus. 

692  f.  Musis  replies  to  Pam- 
pilus' remark  two  lines  above. 


ACTUS  IV,  SCENA  II 


Ea    res   est,    proptereaque   nunc   misera  in    maerorest.  10 

Pa.   Musis, 
Per  omnis  tibi  adiuro  decs  numquam  earn  me  deser- 

turum, 
Non,    si    capiundos    mihi    sciam    esse    inimicos    omnis 

homines. 

Hanc  mi  expetivi ;  contigit ;  conveniunt  mores.    Valeant 
Qui  inter  nos  discidium  volunt.     Hanc  nisi  mors    mi 

adimet  nemo. 
Mu.  Resipisco.     Pa.    Non  Apollinis  magis  verum  atque  hoc  15 

responsumst. 

Si  poterit  fieri,  ut  ne  pater  per  me  stetisse  credat, 
Quo  minus  haec  fierent   nuptiae,  volo;    sed  si   id    non 

poterit, 

Id  faciam,  in  proclivi  quod  est,  per  me  stetisse  ut  credat. 
Quis  videor  ?     Ca.    Miser,  aeque  atque  ego.     Da.    Con- 

silium  quaere.     Pa.    [Ironically.]     Fortis! 


695.  omnis     homines     is     a 
large-sounding  phrase,  but  very 
much  easier  for  Pampilus  to  say 
than  the   definite  patrem  which 
the  occasion  really  demands. 

696.  contigit    is    impersonal ; 
translate      "  I      won      her." 
valeant  properly  means  "  good 
health    to    those."     The  use  of 
the  second  person  as  a  formula 
of     leave    taking,    "  farewell  !  " 
is,   however,   often   extended   to 
the    third     person.       Translate 
"  good-by  to  those." 

697.  nemo,   instead  of  nihil, 
shows     that     Pampilus     has     a 
definite     individual     in     mind. 
Contrast  nil  (120)   and  note. 

TER.    ANDRIA  —  IO 


698.  resipisco :     Musis    is    a 
simple-hearted    girl,    and    takes 
Pampilus'  protestations  at  their 
face  value.  —  magis  verum  is 
colloquial  for  verius.  —  atque : 
for   the    meaning    "  than,"    see 
A.  &  G.  384  Note  2,  B.  341.  i 
c,  Bu.  1035,  G.  643,  H.  &  B. 
307.  2  a,  H.  516.  3,  L.  &  M. 
760. 

699.  ut  ne  credat  is  a  purpose 
clause.   —   stetisse  :       "  things 
have   been    blocked."      Encour- 
aged by  Musis'  reception  of  his 
vague  promises,    Pampilus  now 
ventures    to    make    them    ex- 
plicit. 

702.    atque  :   "  as." 


146  TEREXTI   ANDRIA 

Scio,  quid  conere.     Da.    Hoc  ego  tibi  profecto  effectum 

reddam. 
Pa.    lam  hoc  opus  est.    Da.    Quin  iam  habeo.    Ca.    Quid  est  ? 

Da.    Huic,  non  tibi  habeo;   ne  ems. 
705  Ca.    Sat  habeo.      Pa.   Quid    fades  ?     Cedo.     Da.    Dies  hie 

mi  ut  satis  sit,  vereor 
Ad  agendum;   ne  vocivom  nunc  me  esse  ad  narrandum 

credas. 

Proinde  hinc  vos  amolimini;   nam  mi  inpedimento  estis; 
Pa.    Ego  hanc  visam.     [Exit  into  Gluceriurns  house.}     Da. 
Quid   tu  ?     Quo    hinc    te    agis  ?     Ca.   Verum    vis 
dicam  ?     Da.    Immo  etiam 

703.  effectum  reddam :  for  the  706.    ne  credas:    for  the  con- 
idiom,  see  on  mis  sum  face  (680).  struction,  see  on  ne  erres  (704). 

704.  quin,  "  why  not  ?  "  was  —  vocivom  :     consult    the    die- 
so  commonly  used  in  rhetorical  tionary  under  the  classical  form 
questions    which    amounted    to  vacuus. 

emphatic     assertions,     that     it  707.    Under       the       circum- 

came    to    be    a    corroborative  stances,  Davos'  insolence  serves 

particle,     "  really,     indeed."  to  increase  the  young  men's  con- 

ne  erres  :   a  prohibition,  "  don't  fidence  in  him. 

make  any  mistake."  1  708.    immo  etiam :   the  words 

705.  cedo     here     retains     its  go    closely    with    the    following 
long  ultima;  see  on  150.    Others  line,    and    have    the    same    un- 
assume  that  the  ultima  was  al-  favorable     connotation     as     in 
ways    short    in   Terence's    day,  line  655  ;  translate  "Worse  yet !" 
and  read  cedo  before  the  diaeresis.  or  better,  "That  isn't  the  worst 

—  ut  belongs  with  vereor.  of  it."2 

1  Most  scholars  consider  this  and  ne  credas  (706)  clauses  of  purpose;  but. 
Bennett,  Syntax  of  Early  Latin  i.  168,  classifies  as  prohibitive  the  closely 
similar  clauses  in  Plautus,  Capt.  186,  Merc.  528,  and  Mil.  1422.     Certainly 
the  clause  is  more  effective  as  a  prohibition. 

2  If  one  translates  "yes>  °f  course,"  it  is  hard  to  see  why  Carinus  doesn't 
tell  his  story.     The  same  consideration  makes  it  impossible  to  take  the  first 
part  of  line  709  as  an  aside. 


,     ACTUS  IV,  SCENA  III  147 

Narrationis  incipit  mi  initium  !     Ca.   Quid  me  fiet  ? 
10  Da.    Eho  tu  inpudens,  non  satis  habes,  quod  tibi  dieculam 

addo, 
Quantum     huic     promoveo     nuptias  ?     Ca.    Dave,    at 

tamen  .  .  .     Da.   Quid  ergo  ? 

Ca.    Ut  ducam.     Da.    Ridiculum.     Ca.    [Pointing  to  the  right, 
in  which  direction   his  house    is    supposed  to    lie.} 
Hue  fac  ad  me  venias,  si  quid  poteris. 
Da.  Quid    veniam?     Nil   habeo.     Ca.   At   tamen,   si   quid.  30 

Da.   Age  veniam,  si  quid. 
Ca.    Domi   ero.     [Exit  right.}     Da.   Tu,   Musis,   dum   exeo, 

parumper  opperire  hie. 

15  Mu.  Quapropter  ?    Da.   Itafactost  opus.    Mu.  Matura.    Da. 
lam  inquam  hie  adero.   [Exit  into  Glucerium's  house.} 

Musis  DAVOS 

ANCILLA  SERVOS 

Mu.  Nilne  esse  proprium  quoiquam  !     Di,  vostram  fidem 
Summum  bonum  esse  erae  putavi  hunc  Pampilum, 

709.  incipit  initium :  the  verb          712.    ut    ducam :     for    ut    in- 
is  intransitive;  translate  "it's  the      troducing  a  wish,  see  on  modo 
beginning  of  your  life  history.*'      ut    possim    (409) .x 

The  pleonasm  is  colloquial.   This  713.    age:    "very  well." 

unsympathetic  remark  dissuades  714.    exeo:      for     the     mood 

Carinus  from  telling  his  tale.  —  and    tense,    see    on    proficiscor 

me  :  for  the  case,  see  on  614.  (329). 

710.  dieculam:     the  diminu- 

i,       •  ,  ACT  IV  SCENE  3 

tive  is  colloquial. 

711.  quantum  :"  in  so  far  as."          716.    proprium:          "one's 
—  promoveo:  "  put  off."     Con-      own";     hence,    "constant,    as- 

trast  the  meaning  of  promoveris      sured."    —  di      is     vocative.  — 
(640).  fidem:   for  the  case,  see  on  237. 

1  It  is  usual  to  consider  this  a  command,  whether  independent  (Bennett, 
Syntax  of  Early  Latin  i.  165)  or  dependent  upon  fac  understood.     The  less 


148 


TERENTI  ANDRIA 


Amicum,  amatorem,  virum  in  quovis  loco 
Paratum ;   verum  ex  eo  nunc  misera  quern  capit 
720          Laborem  !     Facile  hie  plus  malist  quam  illic  boni. 
[Enter  Davos  with  the  baby  in  his  arms.} 

Sed  Davos  exit.     Mi  homo,  quid  istuc  obsecrost  ? 
Quo  portas  puerum  ?     Da.    Musis,  nunc  opus  est  tua 
Mihi  ad  hanc  rem  exprompta  malitia  atque  astutia. 
Mu.  Quid    nam   inceptiiru's  ?     Da.    [Offering   her  the   baby.} 

Accipe  a  me  hunc  ocius 

725  Atque  ante  nostram  ianuam  appone.     Mu.    Obsecro, 

Humine  ?     Da.    Ex  ara  hinc  sume  verbenas  tibi 
Atque  eas  substerne.     Mu.   Quam  6b  rem  id  tute  non 

facis  ? 
Da.   Quia,  si  forte  opus  sit,  ad  erum  iurandumst  mihi 


718.    loco:    "occasion." 

720.  laborem  :  the  word  often 
means    "  trouble."    —  hie   .    .    . 
illic  :  "  on  this  side  of  the  account 
.    .    .    on  that";    hie  refers   to 
line  719,  illic  to  lines  717  f. 

721.  Express  the  exact  force 
of  istuc  in  your  translation. 

723.  malitia:    "trickery." 
—  astutia  :  "  cunning."     Davos 

is  ironical,    for  Musis   possesses 
neither  quality. 

724.  ocius  :  "  at  once." 

725.  appone :      here    and    in 
729  the   manuscripts  favor  the 
assimilated    form,    but    in    763 
they       indicate      adposist}.     Of 
course  so  inconsistent  an  orthog- 
raphy   does  not    represent    the 


facts  of  the  language.  In  actual 
'speech  the  Romans  seem  al- 
ways to  have  assimilated  final 
consonants  of  verbal  prefixes 
when  that  was  possible. 

726.  ara  :  the  altar  of  Apollo, 
god  of  ways  and  streets,  which 
stood  before  the  house.  —  ver- 
benas :  leafy  boughs,  with  which 
the  altar  was  decked. — tibi: 
dative  of  reference  with  sume, 
"  help  yourself  to." 

728  f.  quia  .  .  .  iurandumst 
—  ut  .  .  .  possim :  each  clause 
is  an  answer  to  Musis'  question. 
One  may  answer  the  question 
"  why  ? "  equally  well  by  a  causal 
clause  or  by  a  purpose  clause,  and 
here  Davos  combines  the  two. 


efficient  attitude  of  mere  wishing  accords  better  with  the  usual  character  of 
lovers  in  the  comedies. 


ACTUS  IV,  SCENA  III 


149 


Non  apposisse  —  ut  liquido  possim.     Mu.    [Ironically.] 

Intellego; 

o          Nova  nunc  religio  in  te  istaec  incessit.     Cedo. 
Da.    Move  ocius  te,  ut  quid  agam  porro  intellegas. 
[Musis  lays  the  baby  at  Simo's  door.] 

Pro    luppiter !     Mu.    Quid    est  ?     Da.    Sponsae    pater 

intervenit. 

Repudio  quod  consilium  primum  intenderam. 
Nescio  quid  narres.     Da.    Ego  quoque  hinc  ab  dextera 
Venire  me  adsimulabo.     Tu  ut  subservias 
Orationi,  utquomque  opus  sit,  verbis  vide.     [Exit  left.] 
Ego  quid  agas  nihil  mtellego;   sed  si  quid  est, 
Quod  mea  opera  opus  sit  vobis,  ut  tu  plus  vides, 
Manebo,  ne  quod  vostrum  remorer  commodum. 


Mu. 


729.  apposisse:  in  early  Latin 
the  perfect  of  pono  (from  *po- 
sino)  is  po-sivi  (here  contracted). 
The   classical  posui  was  formed 
to  match  the  perfect  passive  po- 
situs  sum  on  the  model  of  such 
pairs  as  monui,  monitus  sum ;  do- 
mui,  domitus  sum;  etc.  — liquido : 
"  with  a  clear  conscience." 

730.  religio  :      "  scruple." 
cedo :     for   form    and    meaning, 
see  on  150. 

731.  porro,   "  further,"    is    to 
be  construed  with  agam. 

732.  luppiter   is   a    vocative. 
For  the  use  of  pro,  see  on  237.  — 
sponsae  pater  :    i.e.,  Cremes.  — 
intervenit :    "  is   coming    in    the 
midst  (of  our  preparations)." 

733.  consilium  primum  :  what 
the   original   plan    was   we   can 


only  conjecture.  Probably  Da- 
vos meant  to  inform  Simo  that  a 
baby  had  been  laid  at  his  door. 

734.  dextera :       cf.     dextram 
(289).       The    longer    forms    of 
this  word  are  more  common  in 
early  Latin  than  later.     Cremes 
is  coming  from  his  house,  which 
lies    to    the    right.     So    Davos 
starts  off  in  the  opposite  direc- 
tion, goes  around  the  block,  and 
appears  from  the  right  as  if  he 
were  following  Cremes  at  some 
distance. 

735.  ut    subservias    depends 
on  vide. 

736.  utquomque  =  utcumque. 
—  verbis:  ablative  of  means  with 
subservias. 

738.    quod :    accusative  of  re- 
spect. 


150  TERENTI   ANDRIA 

CREMES       Musis          DAVOS 

SENEX  ANCILLA  SERVOS 

[Enter  Cremes  from  the  right,  soliloquizing.] 
740  Cr.    Revortor,  postquam  quae  opus  fuere  ad  nuptias 

Gnatae    paravi,    ut    iubeam    accersi.     [Sees    the   baby.] 

Sed  quid  hoc  ? 
Puer  herclest.     Mulier,  tu  adposisti  hunc  ?     Mu.  [Aside, 

looking  to  the  left  after  Davos.}     Ubi  illic  est  ? 
Cr.    Non    mihi    respondes  ?     Mu.    [Aside.]     Niisquam    est. 

Vae  miserae  mihi  ! 
Reliquit  me  homo  atque  abiit. 
[Enter  Davos  from  the  right,  soliloquizing.] 

Da.    Di,  vostram  fidem, 

745  Quid  turbaest  apud  forum  !     Quid  illi  hominum  litigant  ! 

Turn  annona  carast.      [Aside.]     Quid  dicam  aliud,  ne- 

scio. 

Mu.  Cur  tu  obsecro  hie  me  solam  .  .  .  ?  Da.  [Feigns  sur- 
prise at  seeing  the  baby.]  Hem,  quae  haec  est 
fabula  ? 


ACT  IV  SCENE  4  745/    quid    lhominum-      I'6- 

quot  homines,  but  more  forcible 

740.  revortor  :     as   he   prom-  by  reason  of  the  repetition  of 
ised     in      594.    -  -    quae     opus  quid  with  the  partitive  genitive. 
fuere  :     for    the    personal    use,  —  illi  :      the     adverb.     Several 
compare    quid    opus  facto    esset  of  the   Athenian    courts   sat   in 
(490).  or  near  the  market. 

741.  accersi:    for  the  mean-  746.    annona    carast  :"  prices 
ing,  see  on  546.  are  high." 

742  f.    Musis    is    so  confused  747.    cur      tu      me      solam  : 

by    Davos'    desertion    that    she  Davos  prevents  her  giving  the 

doesn't   even   look   at   Cremes;  secret     away     by     interrupting 

and  so,  later  on  (839),  Cremes  before      she      has      a      chance 

declares  that  she  didn't  see  him.  to       say       reliquisti.  —  fabula  : 

742.  illic  =  ille.  "  farce."     The     antecedent     of 


ACTUS  IV,  SCENA  IV 


Eho  Musis,  puer  hie  undest  ?     Quisve  hue  attulit  ? 
Mu.  Satin  sanu's,  qui  me  id  rogites  ?     Da.   Quern  ego  igitur  10 

rogem, 
o          Qui  hie  neminem  alium  videam  ?     Cr.    [Aside.]     Miror, 

unde  sit. 
Da.   Dictura's   quod    rogo  ?     [Threatens  Musis.]     Mu.   Au ! 

Da.    [Whispers.]     Concede  ad  dexteram. 
Mu.  .Deliras ;    non   tute    ipse.  .  .  ?     Da.    [Aloud.]     Verbum 

si  mihi 
Unum  praeter  quam  quod  te  rogo  faxis,  cave  ! 


haec  is  made  clear  in  the  next 
line. 

749.  satin    is    the    colloquial 
form   of  satis-ne ;    for   the   loss 
of     s,     see    on     censen     (256). 
Satis   here   means   "  quite,"    as 
it  often  does. 

750.  Davos  seizes  the  oppor- 
tunity to  make  Cremes  believe 
that  his  presence  has  not  been 
noticed. 

751.  Davos  threatens   Musis 
in  order  to  convince  Cremes  that 
they    are    really    enemies.     Her 
exclamation  of  fear  is  precisely 
what    he    wants ;     but    at    the 
same  time  she  draws  away  from 
him    toward    Cremes.       Hence 
the    whispered    command    that 
follows. 

752.  For      a      second      time 
Davos'   interruption   is   just   in 


time    to    cut    off   a    dangerous 
verb. 

753.  faxis  is  an  early  Latin 
future,  equivalent  to  fades.1 
The  tense  is  conjugated  in  the 
same  way  as  a  present  of  the 
third  conjugation.  Histori- 
cally the  formation  is  parallel 
with  the  future  in  Greek 
(8ei£a>,  etc.),  which  is  in 
origin  the  subjunctive  of  an 
aorist  (eSei^a,  etc.).  Oscan 
and  Umbrian,  two  Italic  dia- 
lects closely  related  to  Latin, 
form  their  future  in  the  same 
way.  From  the  same  (aorist) 
stem  fax-,  early  Latin  forms  a 
subjunctive  (with  present  force) 
fax-imt.  which  is  conjugated 
like  sim,  and  was,  like  sim, 
originally  an  optative.  Both 
formations  are  far  less  common 


1  Plautus  seems  to  use  the  form  in  the  sense  of  the  future  perfect  some- 
what more  often  than  he  does  the  regular  future  ;  but  the  future  sense  is 
also  common. 


TEREXT1    AXDRIA 


Mu.  Male  dicis  ?     Da.    [Aloud.]     Undest  ?     [Whispers.]    Die  i. 

clare.     Mu.    A  nobis.     Da.    Hahae ! 
755  Miriam  vero,  inpudenter  mulier  si  facit 

Meretrix  !     Cr.    [Aside.]     Ab  Andriast  haec,   quantum 

intellego. 
Mu.  Adeon  videmur  vobis  esse  idonei, 

In  quibus  sic  inludatis  ?     Cr.    [Aside.]     Veni  in  tempore. 
Da.    Propera  adeo  puerum  tollere  hinc  ab  ianua.  2< 

760  [Whispers.]     Mane !     Cave  quoquam  ex  istoc  excessis 

loco  ! 

Mu.  Di  te  eradicent  !     Ita  me  miseram  territas. 
Da.   Tibi     ego    dico    an    non  ?     Mu.   Quid    vis  ?     Da.    At 

etiam  rogas  ? 

Cedo,     quoium     puerum     hie     adposisti  ?     [Whispers.] 
Die  mihi. 


in  Terence  than  in  Plautus; 
of  the  two  other  examples  in 
this  play,  faxo  (854)  is  a  future, 
while  excessis  (760)  is  a  sub- 
junctive of  excedo. 

754.  male     dicis     refers     to 
Davos'  threat  in  the  preceding 
line.     A  more  exact  expression 
would  be  comminaris. 

755.  mirura     is,     of     course, 
ironical. 

756.  meretrix :      Davos    uses 
the  harsh   and   undeserved  epi- 
thet for  the  double  purpose  of 
letting  Cremes  know  who  Musis 
is,  and  of  angering  Musis  into 
a    defense    of    her    mistress.  — 
quantum :    for  the  meaning,  see 
on  207. 

757.  vobis  includes  Pampilus, 


who    has    given    what    excuse 
there  is  for  Davos'  cruel  taunt. 

758.  in     quibus :       inludo     is 
followed  by  in  and  the  ablative 
only    here.     The    regular    con- 
struction    in     Terence     is     the 
accusative  with  or  without  in. 
Later  the  dative  became  usual. 

759.  adeo :    for  the  force  of 
the  word,  see  on  162. 

760.  mane,     cave :      the     use 
of    the    full    or    the    shortened 
forms     of    iambic     words     was 
optional  with  the  poets.  —  ex- 
cessis :     for    the    form,    see    on 
/axis  (753). 

761.  eradicent,  "  tear    up   by 
the  roots,"  is  confined  to  collo- 
quial Latin. 

763.    quoium    is     the     accu- 


ACTUS  IV,  SCENA  IV 


153 


Mu.  Tu    nescis  ?     Da.    [Whispers.]     Mitte    id     quod    sci6;zs 

die  quod  rogo. 
65  Mu.  Vostri.     Da.    Quoius    nostri  ?        Mu.    Pampili.         Cr. 

[Aside.]     Hem  !     Da.   Quid  ?     Pampili  ? 
Mu.  Eho,    an    non    est  ?     Cr.    [Aside.]     Recte    ego    semper 

fugi  has  nuptias. 

Da.   O  facinus  animum  advortendum  !     Mu.    Quid  clamitas  ? 
Da.  Quemne  ego  heri  vidi  ad  vos  adferri  vesperi  ? 
Mu.  O   hominem   audacem  !     Da.    Verum ;     vidi   Cantaram  30 
70  Suffarcinatam.     Mu.    Dis  pol  habeo  gratiam, 


sative  case  of  quoius  in  its 
original  use  as  a  possessive 
adjective  like  meus.  The 
original  genitive  of  qui  and  quis 
was  quois  (see  on  eius,  93),  and 
the  classical  use  of  quoius  (later 
cuius)  is  due  to  a  contamina- 
tion of  the  possessive  adjective 
and  the  original  genitive.  The 
adjective  use  of  quoius  (cuius) 
is  frequent  in  early  Latin  and 
appears  occasionally  in  the  later 
colloquial  language. 

765.  vostri    is     the    genitive 
of    the    possessive.       Although 
Terence      probably      had      no 
definite     substantive     in    mind, 
we      need     one     in      English  ; 
translate      "  your       master's." 
—  quoius     is     the     genitive    of 
the  interrogative.     For  the  pro- 
nunciation,   see    on    eius    (93). 
Translate    quoius    nostri    freely 
"  which  one  of  our  masters  ?  " 

766.  eho,  an:    for  the  force 


of  the  two  words,  see  on  50x3. 
—  semper:  but  compare  100. 
The  inconsistency  is  a  sound 
bit  of  psychology. 

767.  animum    advortendum : 
for  the  construction,  see  on  156. 

768.  quemne    =  isne  est  puer 
quern;    i.e.,   quern   is   a   relative 
referring    to    puerum,    which    is 
understood     (from     763)     with 
Pampili   in    line    765.     Trans- 
late  "  the   one   whom  ...    ?  " 

769.  O    hominem :     for    the 
hiatus,   see   Introduction   20.  — 
verum :     the  subject   is  Davos' 
last   remark.     The  omission  of 
the  copula   is   common. 

770.  suffarcinatam  :    the  verb 
farcio  and  its  derivative  farcino 
mean    "  stuff,"    as   one   does    a 
pillow.     The     prefix    sub     here 
means     virtually     "  under     her 
clothes."      Translate  "  carrying 
something    under    her    cloak." 
Davos  hopes  by  shameless  lying 


154 


TERENTI   ANDRIA 


Quom  in  pariundo  aliquot  adfuerunt  liberae. 
Da.   Ne  ilia  ilium  baud  novit,  quoius  causa  haec  incipit : 
'Cremes  si  puerum  positum  ante  aedis  viderit, 
Suam  gnatam  non  dabit.'     Tanto  hercle  magis  dabit.  35 
775  Cr.    [Aside.]     Non  hercle  faciet.     Da.    Nunc  adeo,  ut  tu  sis 

sciens, 

Nisi  puerum  tollis,  iam  ego  hunc  in  mediam  viam 
Provoluam  teque  ibidem  pervoluam  in  luto. 
Mu.  Tu  pol  homo  non  es  sobrius.     Da.    Fallacia 

Alia  aliam  trudit.     Iam  susurrari  audio, 
780          Civem  Atticam   esse   hanc.      Cr.    [Aside.]     Hem.     Da. 

'Coactus  legibus 

Earn  uxoremducet.'    Mu.   Eho,  obsecro,  an  non  civisest  ? 
Cr.    [Aside.]     locularium  in  malum  insciens  paene  incidi. 


4o 


to  get   an   emphatic   statement 
of  the  truth  from  Musis. 

771.  adfuerunt :  for  the  mood, 
see  on  impetro  (422).  —  liberae: 
the    testimony    of    slaves    was 
worthless. 

772.  ne:     for    the    meaning, 
see    on    324.  ilium:      i.e., 
Cremes. 

773  f.  Davos  indicates  by  his 
tone  that  he  is  quoting  Glu- 
cerium  and  her  women ;  com- 
pare the  remarks  on  /U/AT^TIS  in 
the  note  on  151  ff. 

775.  nunc  adeo :  "  now  be- 
sides "  ;  translate  "  and  now." 
—  sis  sciens:  as  in  line  508. 

777.  pervoluam :  quadrisyl- 
lables of  this  type  ( www) 

are  frequently  accented  on  the 


first  syllable  in  Terence  (cf.  on 
benefici,  44).  Here  the  accen- 
tuation of  the  prefix  is  favored 
by  the  contrast  with  provoluam. 

779.  trudit :    "  treads  on  the 
heels  of." 

780.  coactus      legibus:       on 
the  law  referred  to,  see  on  civem 
Atticam  esse  hanc  (221). 

781.  With    Musis'    full    con- 
viction  that    her    mistress    is    a 
citizen,    compare    Davos'    over- 
shrewd   doubts   (220,   225). 

782.  iocularium  :      a  free  use 
of  adjectives  in  -arius  is  char- 
acteristic of  colloquial  Latin  as 
one  finds  it  in  Plautus  and  else- 
where.      Terence     uses     them 
rather     rarely.  —  malum      here 
means  "  scrape." 


ACTUS  IV,  SCENA  IV 


155 


Da.   Quis  hie  loquitur  ?     O  Creme,  per  tempus  advenis. 

Ausculta.     Cr.   Audivi  iam  omnia.     Da.    [With,  feigned  *& 

surprise.]     An  tu  haec  omnia  ? 
85  Cr.    Audivi,  inquam,  a  principio.     Da.    Audistin,  obsecro  ? 

Em 

Scelera.     Hanc  iam  oportet  in  cruciatum  hinc  abripi. 
[To  Musis.]     Hie  est  ille;   non  te  credas  Davom  ludere. 
Mu.  Me  miseram  !     Nil  pol  falsi  dixi,  mi  senex. 
Cr.    Novi  omnem  rem.     Est  Simo  intus  ?     Da.    Est.  so 

[Exit  Cremes  into  Simo's  house.     Davos,  delighted  at  his 
success,  attempts  to  embrace  Musis.] 

Mu.   Ne  me  attigas, 
90  Sceleste.     Si  pol  Glucerio  non  omnia  haec  .  .  . 

Da.    Eho  inepta,  nescis  quid  sit  aetum  ?     Mu.   Qui  sciam  ? 
Da.   Hie  socer  est.     Alio  pacto  haud  poterat  fieri, 


783.  Creme:     for   the    form, 
see  on  247. 

784.  an :    here  an  alone  ex- 
presses  as  much   as  eho,  an   in 
500    and    766.     This    question 
of  surprise  is  very  near  to  the 
absurd     question    with     an    in 
classical    Latin;     on   which    see 
A.  &  G.  335  b,  Bu.  368,  G.  457. 
i,  H.  &  B.  236,  L.  &  M.  702. 

785  f .  em  scelera :  for  the 
accusative,  see  on  em  (351). 
For  the  translation,  see  on 
astutias  (604). 

787.  ille :  i.e.,  the  man  we 
have  been  talking  of;  translate 
"  that  gentleman."  -  credas  : 
a  prohibitive  subjunctive  with 


non;  compare  neque  dicas  (205). l 
See  Bennett,  Syntax  of  Early 
Latin  I.  170. 

789.  attigas  is  an  early  Latin 
variant  of  attingas. 

790.  pol  belongs  logically  in 
the    main    clause;     but    Latin 
oaths  are  often   put  in   a  sub- 
ordinate   clause,    especially    in 
case    this    precedes    the    main 
clause. 

791.  qui :    for  the  form  and 
meaning,  see  on  53.  —  sciam: 
for    the    mood,     see    on    quid 
credas  (499). 

792.  fieri:   the  antepenult  of 
this  form  is  long  only  at  the  end 
of  a  verse. 


1  The  context  will  not  permit  so  mild  a  phrase  as  "you  should  not." 


156 


TERENTI   ANDRIA 


Ut  sciret  haec  quae  volumus.     MM.    Hem,  praediceres. 
Da.    Paulum  interesse  censes,  ex  animo  omnia,  ss 

795  Ut  fert  natura,  facias  an  de  industria  ? 


CRITO 

SENEX 


Musis 

ANCILLA 


DAVOS 

SKRVOS 


[Enter  Crito  from  the  left.} 

Cr.    In  hac  habitasse  platea  dictumst  Crusidem, 
Quae  sese  inhoneste  optavit  parere  hie  ditias 


793.  praediceres:  "you 
should     have     told."     For    the 
mood,  see   A.   &  G.  439  b,    Bu. 
769,  0.272.  3,  H.&  B.  512  b,H. 

559-  6. 

794  f.  Davos  means  to  say 
that  Musis  was  not  a  skillful 
enough  actor  to  help  him  carry 
through  the  farce  he  had 
planned  for  Cremes'  benefit. 
His  only  chance  of  getting 
the  accents  of  sincerity  from 
her  was  to  frighte/i  her  into 
telling  the  truth. 

794.  ex    animo :     "  from    the 
heart." 

795.  de    industria :    "  by   an 
effort,"    and,    in    this  case,  the 
effort   would    have    been    quite 
obvious  if  Musis  had  been  try- 
ing to  play  a  part. 

ACT  IV     SCENE  5 

As  Crito  wears  the  cloak  and 
hat  of  a  traveler,  and  as  he 
enters  from  the  left,  the  specta- 


tors know  at  once  that  he  has 
come  from  abroad.  His  first 
lines  inform  them  that  he  is 
the  nearest  living  relative  of 
Crusis,  Glucerium's  reputed  sis- 
ter. It  was  he,  then,  whose 
neglect  drove  the  poor  girl 
from  home  (71  f.).  His  smug 
condemnation  of  her  course 
is  not  the  more  agreeable  be- 
cause it  is  so  perfectly  true  to 
life. 

796.  platea:     Greek    TrAarela, 
"  street,"  keeps  its  long  penult 
in  formal  Latin  platea.     In  col- 
loquial   Latin,    however,    the    e 
was    shortened,   since    it    stood 
before  a  vowel,  and  the  accent 
receded  to   the    antepenult. 

797.  ditias :     Terence    never 
uses     the     full     form     divitiae. 
Between     like     vowels     v    was 
lost  in  rapid  pronunciation  and 
then  the  two  vowels  contracted  ; 
hence    we    have   sis   for   si   vis, 
Idtrina  for  lavatrina,  etc. 


ACTUS  IV,  SCENA  V  157 

Potius  quam  in  patria  honeste  pauper  viveret. 
Eius  morte  ea  ad  me  lege  redierunt  bona. 

>o          Sed  quos  percenter  video.     Saluete.     Mu.    Obsecro,         5 
Quern  video  ?     Estne  hie  Crito  sobrinus  Crusidis  ? 
Is  est.     Cr.    O  Musis,  salue  !     Mu.    Saluos  sis,  Crito. 
Cr.    Itan     Crusis,    hem  ?     Mu.    Nos    quidem     pol    miseras 

perdidit. 
Cr.    Quid     vos  ?     Quo     pacto     hie  ?     Satine     recte  ?     Mu. 

Nosne  ?     Sic 

>5  Ut  quimus,  aiunt,  quando  ut  volumus  non  licet.  10 

Cr.    Quid  Glucerium  ?     lam  hie  suos  parentis  repperit  ? 
Mu.  Utinam  !'    Cr.    An  non  dum  etiam  ?     Haud   auspicato 

hue  appuli; 

Nam  pol,  si  id  scissem,  numquam  hue  tetulissem  pedem. 
Semper  enim  dictast  esse  haec  atque  habitast  soror; 
o          Quae  illius  fuerunt,  possidet.     Nunc  me  hospitem  15 

798.  viveret :      for  the  mood,  reply   is   the   one   Musis   gives, 
see  on  sinat  (396).  "  A  crushing  blow  for  us  !  " 

799.  eius  is  monosyllabic.  —  804.    hie     is    the     adverb.  — 
redierunt:     "reverted";    Cru-  sic:    "  so,  so." 

sis,     then,     had      left     no    will.  805.    aiunt :    "  the  saying  is." 

Crito    has    no    foolish    scruples  807.    an    is    used    as    in    784. 

about  tainted  money.     This  line  —  auspicato  :  for  the  case,  see  on 

adequately  explains  Crito's  ar-  optato  (533).  —  appuli:    appello, 

rival  just  at  this  time ;   the  poet  with   or  without   navem,   means 

cannot  justly   be   criticized   for  "  put  in  to  shore,  make  harbor." 

making  a  mere  coincidence  fur-  808.    tetulissem :      the     early 

nish    the    solution  of   the  plot.1  Latin    reduplicated    perfect    of 

803.    itan  Crusis,  hem :     "  So  fero    is    much    less    common    in 

Crusis,  eh  ?  "     Crito  avoids  the  Terence  than   in   Plautus. 

ill  omen   of  saying   mortua   est.  810.    illius :  for  the  dissyllabic 

The  question  may  still  be  heard  pronunciation,  see  on  eius  (93). 

at  any  funeral,  and  the  proper  —  hospitem    here   means    "  for- 

1  Legrand,  Daos  394,  takes  the  opposite  view. 


TERENTI   ANDRIA 


Litis  sequi,  quam  hie  mihi  sit  facile  atque  utile, 
Aliorum  exempla  commonent.     Simul  arbitror, 
lam  aliquem  esse  amicum  et  defensorem  ei ;    nam  fere 
Grandicula  iam  profectast  illinc ;   clamitent 
815  Me  sucopantam,  hereditatem  persequi 

Mendicum.     Turn  ipsam  despoliare  non  lubet. 
Da.   O  optume  hospes  !     Mu.    Pol,  Crito,  antiquom  obtines. 
Cr.    Due  me  ad  earn,  quando  hue  veni,  ut  videam.     Mu. 
Maxume.  [Exeunt  into  Gluceriurns  house.} 

Da.   Sequar  hos;    me  nolo  in  tempore  hoc  videat  senex. 

[Exit  into  Gluceriurns  house.} 


it* 


eigner."  Crito's  legal  claim  to 
the  estate  was  still  valid,  since 
Glucerium  was  not  really  Crusis' 
sister.  It  would,  however,  be 
necessary  to  prove  that  fact  in 
a  court  of  law,  and  a  foreigner 
had  a  poor  chance  of  convincing 
an  Athenian  jury. 

811.  litis  sequi,  "  go  to  law," 
is  a  literal  translation  of  Greek 
8iKrjv  Stw/ceiv.  —  hie  is  the  adverb. 

814.  grandicula  :      the    collo- 
quial  diminutive   may   be   ren- 
dered "  in  her  teens."  —  illinc : 
i.e.,  from  Andros. 

815.  sucopantam:    the  classi- 
cal  form  would   be  sycophantes 
(Gk.  <ruKo<£avn;s),    but  our  dic- 
tionaries   give    sycophanta. 

816.  The    ease    with    which 


one  can  make  a  virtue  of  neces- 
sity is  a  chief  reason  for  the 
good  reputation  which  such 
people  as  Crito  usually  enjoy. 
Musis  is  genuinely  impressed 
by  his  generosity.  Davos,  how- 
ever, is  hardly  the  man  to  at- 
tribute better  motives  than  the 
facts  warrant.  His  commenda- 
tion is  a  bit  of  ironical  flattery. 

817.  O  optume:    for  the  hia- 
tus, see  Introduction  20. — anti- 
quom :    "  the  good   old   way  " ; 
virtue    of   every    sort    is    char- 
acteristic   of    the    "  good     old 
days,"    which    always    lie    some 
fifty    or    seventy-five    years    in 
the  past. 

818.  maxume:       "by     all 
means." 


ACTUS  V 


CREMES 
SENEX 


SIMO 

SENEX 


[Enter  Cremes  and  Simo  from  Simo's  house.] 
\2oCr.    Satis  iam  satis,  Simo,  spectata  erga  te  amicitiast  mea; 
Satis  pericli  incepi  adire.     Orandi  iam  finem  face. 
Dum  studeo  obsequi  tibi,  paene  inlusi  vitam  filiae. 
Immo  enim  nunc  quom  maxume  abs  te  postulo  atque 

oro,  Cremes, 

Ut  beneficium  verbis  initum  dudum  nunc  re  comprobes.  s 
Vide  quam  iniquos  sis   prae   studio.     Dum   id   effTcias 

quod  cupis, 

Neque  modum  benignitatis  neque  quid  me  ores  cogitas; 
Nam  si  cogites,  remittas  iam  me  onerare  iniuriis. 


Si. 


(25  Cr. 


ACT  V    SCENE  i 

821.  face:    for  the  form,  see 
on  680. 

822.  vitam :  for  the  case,  see 
on  in  quibus  (758). 

823.  immo     enim :      enim    is 
corroborative ;    translate  "  why, 
no  !  "  —  nunc    quom    maxume  : 
this     common     phrase     means 
"  now  as  much  as  ever."     The 
expression  must  originally  have 
been  somewhat  fuller,  but  it  is 
impossible    to    determine    just 
what    has    been   omitted;    per- 
haps  we    should    supply  vta    ut 


as  is  suggested  by  Cicero,  Ad 
Quint.  Prat.  ^.  4.  6.  (2.  6.  6): 
domus  celebratur  ita  ut  cum 
maxime. 

824.  An    antithesis    between 
words  and  deeds  is  much  more 
common  in  Greek  than  in  Latin  ; 
no   doubt  Menander    employed 
it  here.  —  dudum  is  used  as  in 
.582. 

825.  prae    sometimes    has    a 
causal  force  in  a  negative  sen- 
tence, "  in  view  of,  from." 

826.  modum  :    "  the  limits." 

827.  remittas  :       "  cease."  — 
iniuriis  :    "  unjust  demands." 


i6o 


TEREXTI  AXDRIA 


830 


Si.     Quibus  ?     Cr.    At  rogitas  ?      Perpulisti  me,   ut  homini 

adulescentulo 

In  alio  occupato  amore,  abhorrenti  ab  re  uxoria,  10 

Filiam  ut  darem  in  seditionem  atque  in  incertas  nuptias, 
Eius  labore  atque  eius  dolore  gnato  ut  medicarer  tuo. 
Impetrasti;    incepi,  dum  res  tetulit.       Nunc  non  fert; 

feras. 
Illam    hinc    civem    esse    aiunt;     puer   est    natus;     nos 

issos  face. 

Per  ego  te  deos  oro,  ut  ne  illis  animum  inducas  credere,  is 
Quibus  id    maxume    utilest,  ilium   esse   quam   deterru- 

mum. 

Nuptiarum  gratia  haec  sunt  ficta  atque  incepta  omnia. 
Ubi  ea  causa,  quam  6b  rem  haec  faciunt,  ent  adempta 

his,  desinent. 
Cr.    Erras;     cum    Davo   egomet    vidi    iurgantem    ancillam. 

Si.    [Ironically.]     Scio.     Cr.  At 
Vero  voltu,  quom  ibi  me  adesse  neuter  turn  praesen-  20 

serat. 

840  Si.     Credo,   et  id   facturas   Davos   dudum   praedixit   mihi; 
Et  nescio  qui  id  tibi  sum  oblitus  hodie,  ac  volui,  dicere. 


835 


828.    perpulisti :    Cremes  had 
once       renewed       his     consent 

(572  f.)« 

830.  ut  is  merely  a  repetition 
of  wi  in  828.    For  its  position,  see 
on    ut     (160). — incertas:      be- 
cause, if  Glucenum  is  a  citizen, 
Pampilus      would      have    been 
compelled  to  divorce  Pilumena 
and  marry  Glucerium. 

831.  labore:  for  the  meaning, 
see  on  720. 

832.  tetulit :   for  the  form,  see 


on  808.  —  feras  :    for  the  mood, 
see  on  quiescas  (598). 

833.  hinc  has  the  same  mean- 
ing  as    in    221.  — missos   face: 
for  the  phrase,  see  on  680. 

834.  per  .   .   .  oro :    the  order 
is  the  same  as  in  289. 

835.  ilium :    i.e.,  Pampilus. 

840.  praedixit :   i.e.,  in  507. 

841.  nescio   qui:          "some- 
how." —  ac    connects    contrast- 
ing  ideas   as   atque  often   does ; 
see  on  225. 


ACTUS  V,  SCENA  II  161 

DAVOS         CREMES         SIMO         DROMO 
SERVOS  SENF.X          SENEX       LORARIUS 

[Enter    Davos   from    Glucerium's    house.     He    doesn't    see 
Cr ernes  and  Simo  for  a  moment.] 
Da.   [To  those  within.]    Animonunciamotiosoesseimpero  .  .  . 

Cr.    Em  Davom  tibi  ! 
Si.     Unde  egreditur  ?    Da.  .  .  .  meo  praesidio  atque  hospitis. 

Si.   Quid  illiid  malist  ? 
Da.    Ego  commodiorem   hominem,   adventum,   tempus  non 

vidi.     Si.    Scelus, 
45          Quern   nam   hie   laudat  ?     Da.   Omnis   res   est   iam   in 

vado.     Si.    Cesso  adloqui  ? 
[Davos  sees  Cremes  and  Simo.] 

Da.   [Aside.]     Erus   est.     Quid    agam  ?     Si.    O   salue,   bone  5 
vir.     Da.    [Feigning    surprise.]     Ehem     Simo !     O 
noster  Cremes  ! 
Omnia  apparata  iam  sunt  intus.     Si.    [Ironically.]     Cu- 

psti  probe. 
Da.   Ubi  ^oles,    accerse.     Si.    [Ironically.]     Bene   sane ;    id 

entrnvero  hinc  nunc  abest. 

[Severely.]     Etiam    tu    hoc    responde :     quid    istic    tibi 
negotist  ?     Da.    Mihin  ?     Si.    Ita. 

.       IT     c  ing>  see  on   546.  —  bene  sane: 

ACT  V    SCENE  2 

sane  strengthens  bene;  translate 

842.    esse:     impero    is    used  "very     fine!" — id    refers     to 

with    a    passive    or    deponent  accerse.  —  hinc :  "  from  (to)  the 

infinitive  at  all  periods  of  the  present  situation." 

language.     With  esse  it  is  rare.  849.    etiam    goes    with    hoc; 

844.  scelus  is  used  as  in  317.  "this     too."     Davos     has     ex- 

845.  vado :  "  shallow  water."  plained  one  factor  in  the  situa- 
For  the  figure,  compare  480.  tion ;     now    he    may    clear    up 

846.  noster    may    be    freely  another.     Others  prefer  to  take 
rendered  "  my  dear."  etiam    with    the    imperative.  — 

848.    accerse  :    for  the  mean-      ita  :   "  yes." 

TER.    ANDRIA —  II 


l62 


TERENTI  ANDRIA 


850^)0.    Mihin  ?     Si.    Tibi  ergo.     Da.    Ego  modo  intro  ii.     Si. 

Quasi  quam  dudum  rogem. 
Da.   Cum  tuo  gnato  una.     Si.    Anne  est  intus   Pampilus  ? 

Crucior  miser  ! 

Eho,  non  tu  dixti  esse  inter  eos  inimicitias,  carnufex  ? 
Da.   Sunt.     Si.    Cur  igitur  hie  est  ?     Cr.  Quid  ilium  censes  ? 

Cum  ilia  litigat. 
Da.    Immo  vero  indignum,  Cremes,  iam  facinus  faxo  ex  me 

audias. 
855  Nescio  qui  senex  modo  venit  (ellum)  confidens,  catus. 

Quom  faciem  videas,  videtur  esse  quantivis  preti;  \s 

Tristis  veritas  inest  in  voltu  atque  in  verbis  fides. 


850.  ergo    =   quidem.  —  ego 
modo  intro  ii :  "  I  just  (i.e.,  only) 
went  in."     Davos  is  talking  un- 
der compulsion,  and  he  doesn't  in- 
tend his  words  to  give  any  infor- 
mation.   Simo,  however,  chooses 
to   take   modo    in    its   temporal 
sense,  "  just  now." 

851.  By     this     time     Simo's 
anger  is  pretty  evident  and  the 
slave  can  think  of  no  better  plan 
than  to  turn  it  away  from  him- 
self upon  his  young  master. 

852.  inter  eos :    the  preposi- 
tional  phrase  is   accented   as  a 
single  word ;  see  on  apud  me  (36), 
and  Introduction  18. 

853.  ilium :     sc.    hie   esse,    if 
quid  is  the    adverb  "  why,"  or 
facere,  if  quid  is  the  pronoun. 

854.  faxo :    for  the  form,  see 
on  f axis  (753). 

855  ff.    Davos  means   his  de- 


scription to  be  complimentary. 
He  has  recognized  in  Crito  a 
brother  artist;  in  particular,  he 
sees  the  cash  value  of  Crito's 
long  face  and  solemn  ways. 

855.  ellum  is  a  combination 
of  em  and  ilium,  with  loss  of  the 
initial  vowel  of  the  second  word, 
as    in    exprobratiost    (44),    etc. 
For  the  case  of  the  pronoun,  see 
on    em    (351).      In   use,    ellum 
stands  to  eccum  (see  on  532)  as 
ille   stands  to   hie.     Here   it    is 
accompanied    by   a   gesture   to- 
ward Glucerium's  house;    trans- 
late   "  he's    in    there."  —  con- 
fidens,    "  cheeky,"   and    catus, 
"  sharp,"   are  both   slang;    the 
latter  is  a  Sabine  word. 

856.  quantivis  preti :  "  worth 
any  sum  you  please." 

857.  tristis  :   we  might  render 
it    by    "  austere,"    if  we    could 


ACTUS  V,  SCENA  II  163 

Si.   Quid    nam    adportas  ?     Da.    Nil    equidem,    nisi    quod 

ilium  audivi  dicere. 
Si.     Quid  ait  tandem  ?     Da.    Glucerium  se  scire  civem  esse 

Atticam.     Si.    Hem ! 

[Simo  opens  the  door  of  his  house  and  shouts.} 
k)          Dromo !    Dromo  !     Da.   Quid  est  ?     Si.    Dromo !     Da. 

Audi.     Si.   Verbum  si  addideris   .  .  .    !  Dromo  ! 
Da.   Audi    obsecro  !  20 

[Enter  Dromo  from  Simo's  house.] 

Dr.   Quid  vis  ?     Si.    Sublimem  hunc 
intro  rape,  quantum  potest. 

Dr.    Quern  ?     Si.    Davom.     Da.   Quam  6b  rem  ?     Si.   Quia 

lubet.    Rape,  Inquam.    Da.   Quid  feci  ?     Si.  Rape. 

Da.   Si  quicquam  invenies  me  mentitum,  occidito.     Si.   Nihil 

audio. 
Ego  iam  te  commotum  reddam.     Da.   Tamen  etsi  hoc 

verumst  ?     Si.   Tamen. 
>5  [To    Dromo.]     Cura     adservandum     vinctum.     Atque 

audin  ?     Quadrupedem    constringito. 
Age    nuneiam  !     [Dromo    carries   Davos    off.]     Ego    pol  25 

hodie,  si  vivo,  tibi 
Ostendam,  erum  quid  sit  pericli  fallere, 


imagine    Davos    using    such    a  turn   potest   is   an  idiomatic  ex- 
word ;    translate   "  long-faced."  pression  meaning  "  as  quickly  as 
Others    understand    the    word  possible." 
to  mean  "sober,  earnest."  862.    quia    lubet:      fairly    in 

860.  Dromo,  Dromo :   for  the  accord  with  Davos'  prophecy  in 
quantity  of  the  ultima,  see  on  213. 

mane,  cave  (760).  864.    commotum  reddam  :  for 

861.  sublimem :     English   id-  the  periphrasis,   see  on  missum 
iom    requires    us    to    make    a  face  (680). 

coordinate    clause    out    of   this  865.    quadrupedem     constrin- 

word,  "  up  with  him."  —  quan-  gito:   "  bind  him  hands  to  feet." 


164  TERENTI   ANDRIA 

Et    ill!    patrem.     Cr.    Ah,    ne   saevi   tanto   opere.     Si. 

Oh,  Cremes, 

Pietatem  gnati  !     Nonne  te  miseret  mei  ? 
870          Tantum  laborem  capere  ob  talem  filium  ! 
[Calls  at  the  door  of  Gluceriums  house.} 

Age  Pampile  !     Exi  Pampile  !     Ecquid  te  pudet  ?  30 

PAMPILUS  SIMO  CREMES 

ADULESCENS  SENEX  SENEX 

[Enter  Pampilus  from  Glucerium's  house.} 
Pa.   Quis   me   volt  ?     [Aside.}     Peril,    pater   est.     Si.   Quid 

ais,  omnium  .  .  .  ?     Cr.    Ah, 
Rem  potius  ipsam  die  ac  mitte  male  loqui. 
Si.     [To  Cremes.]     Quasi  quicquam  in  hunc  Jam  gravius  dici 

possiet. 
875  [To     Pampilus.}     Ain    tandem  ?     Civis     Gluceriumst  ? 

Pa.    Ita  praedicant. 
St.     [To    Cremes.]      'Ita    praedicant'  ?      O    ingentem    con-  s 

fidentiam  ! 

Num  cogitat  quid  dicat  ?     Num  facti  piget  ? 
Vide  !     Num  eius  color  pudoris  signum  usquam  indicat  ? 
Adeo  inpotenti  esse  animo,  ut  praeter  civium 

868.    illi:     i.e.,     Pampilus.—  meaning  as  remittas  in  827. 

patrem    corresponds    to    erum;  874.    possiet:     for   the   form, 

what  is  to  be  supplied  ?  see  on  siet  (234). 

870.    tantum  laborem  capere :  875.    ain  =  aisne. 

English  does  not  need  a  subject  876.    O  ingentem  is  probably 

any  more  than  Latin  does.  to  be   pronounced  0  Ingentem  ; 

compare     Introduction     20.  — 

ACT  V     SCENE  3  confidentiam:  for   the  meaning, 

872.  quid  ais  refers  forward  to  see  on  confidens  (855). 

Simo's  question  in  875.  879.    inpotenti:          "without 

873.  mitte     has     the     same      self-control." 


ACTUS  V,  SCENA  III  165 

58o          Morem  atque  legem  et  sui  voluntatem  patris 

Tamen  hanc  habere  cupiat  cum  summo  probro  !  10 

Pa.    Me    miserum  !     Si.    Hem,    modone    id    demum    sensti, 

Pampile  ? 

Olim  istuc,  olim,  quom  ita  animum  induxti  tuom, 
Quod  cuperes  aliquo  pacto  efficiundum  tibi, 
[85  Eodem  die  istuc  verbum  vere  in  te  accidit. 

Sed  quid  ego  ?     Cur  me  excrucio  ?     Cur  me  macero  ?      15 
Cur  meam  senectutem  huius  sollicito  amentia  ? 
An  ut  pro  huius  peccatis  ego  supplicium  sufferam  ? 
Immo  habeat,  valeat,  vivat  cum  ilia.     Pa.    Mi  pater! 
[90 Si.     Quid  'mi  pater'  ?     Quasi  tu  huius  indigeas  patris. 

Domus,  uxor,  liberi  inventi  invito  patre;  20 

Adducti  qui  illam  hinc  civem  dicant.     Viceris. 
Pa.    Pater,  licetne  pauca  ?     Si.  -Quid  dices  mihi  ? 
Cr.    Tamen,    Simo,    audi.     Si.    Ego    audiam  ?     Quid    ego 

audiam, 

95  Cremes  ?     Cr.    At  tandem  dicat.     Si.    Age  dicat,  sino. 

Pa.    Ego  me  amare  hanc  fateor;    si  id  peccarest,  fateor  id  25 
quoque. 

882.  modo    demum :      "  just  892.    hinc  has  the  same  force 
now  for  the  first  time."  —  sensti:  as   in  221.  —  viceris:     the  per- 
for    the     form,    see     on     prae-  feet  subjunctive  is  far  less  com- 
scripsti  (151).  mon    than  the  present    in  pos- 

883.  olim  is  used  as  in  545.  —  itive  commands,  although   it  is 
ita  is  explained  by  the  next  line.  frequently  used  in  prohibitions. 

885.    eodem :  for  the  prosody,  Others  prefer  to   regard    viceris 

see     Introduction      19     end. —  as  a  future  perfect, 
accidit:     "applied   to,   suited."          893.    pauca:     what   infinitive 

887.    hums :    for  the  pronun-  is  to  be  supplied  ? 
ciation,    see   on   eius    (93).     So          896.    hanc:    a  gesture  makes 

again  in  the  next  line.  it  clear  that  the  word  refers  to 

889.    valeat:  for  the  meaning,  Glucerium.  —  The  antecedent  of 

see  on  vale  ant  (696).  the  second  id  is  peccare. 


i66  TERF.XTI   AXDRIA 

Tibi,  pater,  me  dedo;   quidvis  oneris  inpone,  impera. 
Vis    me   uxorem   ducere,    hanc    amittere  ?     Ut    potero, 

feram. 
Hoc  modo  te  obsecro,  ut  ne  credas  a  me  adlegatum  hunc 

senem. 
9°°          Sine  me  expurgem   atque  ilium   hue  coram   adducam. 

St.    Adducas  ?     Pa.    Sine,  pater. 
Cr.   Aequom  postulat ; .  da  veniam.     Pa.    Sine  te  hoc  exorem.  30 

St.    Sino. 
[Exit  Pampilus  into  Gluceriuni 's  house.] 

Quidvis  cupio,  dum  ne  ab  hoc  me  falli  comperiar,  Cremes. 
Cr.    Pro  peccato  magno  paiilum  supplici  satis  est  patri. 

CRITO        CREMES        SIMO  PAMPILUS 

SENEX         SENEX        SENEX  ADULESCENS 

[Enter  Pampilus  and  Crito  from  Gluceriums  house.] 
Cri.  [To   Pampilus.}     Mitte    orare.     Una    harum    quaevis 

causa  me  ut  faciam  monet, 
9°5  Vel  tu  vel  quod  verumst  vel  quod  ipsi  cupio  Glucerio. 

898.  amittere  =  dimittere.  —          901.    veniam:  "permission." 
feram:  this  is  not  a  repetition  of          902.    comperiar:    the  verb  is 
Pampilus'  foolhardiness  in  prom-      usually  active. 

ising  to  marry  Pilumena  (420). 

He  knows  now  that  Glucerium's  :ENE  * 

citizenship   can   be   established,  904.    mitte     has     the     same 

and  even  his  father  cannot  get  meaning  as  in  873. 

him  away  from  her.     It  is  per-  905.    cupio :    "  wish  well  to." 

fectly    safe    to    promise    obedi-  If  it  were  not  for  his  habit  of 

ence.  putting  the  best  foot  forward, 

899.  adlegatum    =    suborna-  Cnto    might    add,    vel   Crusidis 
turn.  bona  (cf.  799) ;   for  if  he  estab- 

900.  adducas  is  a  mere  echo  lishes  Glucerium's  Attic  citizen- 
of     adducam.     Compare    essem  ship,  there    will    be    no   further 
(282)  and  habeam  (649).  doubt  that  he  is  Crusis'  heir. 


ACTUS  V,  SCENA  IV  167 

Cre.  [Astonished.]     Andrium    ego    Critonem    video  ?     Certe 

ist.     Cri.    Saluos  sis,  Cremes. 
Cre.  Quid  tu  Athenas  insolens  ?     Cri.   Evenit.     Sed  hicinest 

Si  mo  ? 
Cre.  Hie.     Cri.    Simo,     men    quaeris  ?     Si.    [Rudely.]     Eho 

tu,  Glucerium  hinc  civem  esse  a'fs  ? 
Cri.  Tu     negas  ?     Si.    Itan     hue     paratus     advenis  ?     Cri. 

Qua  de  re  ?     Si.    Rogas  ? 
)io          Tune  inpune  haec  facias  ?     Tune  hie  homines  adules- 

centulos 

Inperitos  rerum,  eductos  libere,  in  fraudem  inlicis  ? 
Sollicitando  et  pollicitando  eorum  animos  lactas  ?     Cri. 

Sanun  es  ? 

Si.    Ac  meretricios  amores  nuptiis  conglutinas  ? 
Pa.    [Aside.]     Perii,    metuo    ut    substet    hospes.      Cre.    Si, 

Simo,  hunc  noris  satis, 

)I5  N6n  ita  arbitrere;    bonus  est  hie  vir.     Si.    Hie  vir  sit 

bonus  ? 

906.  ist  =  is    est;      for     the  tity   of  the   ultima,   see   Intro- 
form,  see  on  dictust  (102).  duction  19  end. 

907.  The    case    of    Athenas  910.    facias:  for  the  mood,  see 
shows  that  we  are  to  supply  a  on  eine  ego  ut  advorser  (263). 
verb  of  motion.  —  insolens:    in  911.    libere:  for  the  meaning, 
its    original    sense;     the    word  see  on  liberali  (123). 

consists   of  the  negative   prefix  912.    sanun  =  sanus-ne. 

in-   and   the   present   participle  914.    ut    substet:        "won't 

of  soleo.  —  evenit :     a    man    of  stand  for  it." 

Crito's  stamp  comes  to  be  good  914  f.   noris,  arbitrere  :  for  the 

at  hedging.  —  hicinest  =  hic(e)-  tenses,  see  on  sis,  sentias  (310). 

ne  est;  cf.  hoccinest  (236).  There  is  another  example  in  918. 

908.  eho  :    for   the   meaning,  915.    bonus  est  hie  vir :   Crito 
see  on  184.  — hinc  has  the  same  has  an  excellent  reputation;  cf. 
meaning  as  in  221.  on  816.  —  sit:  for  the  mood,  see 

909.  advenis:    for  the  quan-  on  eine  ego  ut  advorser  (263). 


1 68  TERENTI  ANDRIA 

Itane  adtemperate  evenit,  hodie  in  ipsis  nuptiis 

Ut    veniret,    ante    numquam  ?     [Ironically.]     Est    vero 

huic  credundum,  Cremes. 
Pa.    [Aside.]     Ni  metuam  patrem,  habeo  pro  ilia  re  ilium  15 

quod  moneam  probe. 
Si.     Sucopanta.     Cri.    Hem  !     Cre.    Sic,     Crito,     est     hie ; 

mitte.     Cri.    Videat  qui  siet. 

920          Si  mihi  perget  quae  volt  dicere,  ea  quae  non  volt  audiet. 
Ego  istaec  moveo    aut  euro  ?     Non    tu    tuom    malum 

aequo  animo  feras  ? 
Nam  ego  quae  dico,  vera  an  falsa  audierim,  Jam  sciri 

potest. 

Atticus  quidam  olim  navi  fracta  ad  Andrum  eiectus  est  20 
Et  istaec  una  parva  virgo.     Turn  ille  egens  forte  adplicat 
925  Primum  ad  Crusidis  patrem  se.     Si.    Fabulam  inceptat. 

Cre.    Sine. 
Cri.  Itane  vero  obturbat  ?     Cre.     Perge.     Cri.   Turn  is  mihi 

cognatus  fuit, 
Qui  eum  recepit.    Ibi  ego  audivi  ex  illo  sese  esse  Atticiim. 

917.  ante  =  antea.  of  audierim.     The  meaning  can 

918.  quod :    for  the  case,  see  best    be    expressed    in     English 
on  quod  (45).  by    recasting      the       sentence: 

919.  qui,  "  how,"    is   correla-  "  whether  the  story  I  am  telling 
tive  with  sic.     Some  regard  qui  on   hearsay   is   true    or    false." 
as    the    nominative    equivalent  Crito's  version  corrects  Davos' 
to  qualis.  account    (220  ff.)    in   some  de- 

921.  The  first  half  of  the  line      tails. 

is  simply  a  disclaimer  of  respon-          924-    una  is  the  adverb, 
sibility  for  the  facts.  —  feras  is          925.    fabulam  :   "  his  yarn." 
potential,  "  can  endure."  926.    turn:     "besides,    more- 

922.  vera  and  falsa  stand  in  over."  —  is:    i.e.,  the  father  of 
a  predicative  relation  to  a  pro-  Crusis. 

noun  which  is  to  be  understood  927.    illo:       i.e.,     the      ship- 

as  antecedent  of  quae  and  object      wrecked  Athenian. 


ACTUS   V,   SCENA  IV  169 

Is    ibi    mortuost.       Cre.    Eius    nomen  ?      Cri.    Nomen  25 

tarn    cito  ?     Pa.    Pania.     Cre.    [Astonished.}    Hem, 
Peril  !     Cri.    Verum  hercle  opinor  fuisse  Paniam ;    hoc 

certo  scio, 
130          Ramnusium    se    aiebat    esse.     Cre.    O    luppiter !     Cri. 

Eadem  haec,  Cremes, 
Multi  alii  in  Andro  turn  audire.     Cre.    Utinam  id  sit, 

quod  spero  !     Eho,  die  mihi, 
Quid     earn    turn  ?     Suamne    esse     aibat  ?     Cri.    Non. 

Cre.    Quoiam  igitur  ?     Cri.    Fratris  filiam. 
Cre.  Certe  meast.     Cri.   Quid  ais  ?     Si.   Quid  tu  ai's  ?     Pa.  3° 

[Aside.]     Arrige  auris,  Pampile  ! 
Si.     Qui  id  credis  ?     Cre.    Pania  illic  frater  meus  fuit.     Si. 

Noram  et  scio. 
35  Cre.  Is  bellum  hinc  fugiens  meque  in  Asiam  persequenS  pro- 

ficiscitur. 

Turn    illam    relinquere    hie    est    veritus.     Poste    nunc 
primum  audio 

928.  eius  is  a  monosyllable. —  repperit?     In   this    use   quid  is 
Pania :   the  classical  form  would  usually     accompanied     by     the 
be  Phanias  (Gk.  3>avtas).  nominative    because    the    same 

929.  peril  is  here  merely  an  concept  usually  serves  as  subject 
interjection  of  astonishment.—  of  the  following  question;   earn 
fuisse :   for  the  short  penult,  see  is  here  accusative  because  that 
Introduction  19  end.  is  the  case  required  in  the  clause 

930.  Ramnusium  :         "from  of  indirect  discourse  that  follows. 
Rhamnus,"   a  deme  or  district  —aibat:    for  the  form,  see  on 
on  the  east  coast  of  Attica.  servibas  (38).  —  quoiam  :  for  the 

932.    quid    earn    turn:     these  possessive  adjective,  see  on  763. 

words  serve  to  call  attention  to  934.   qui:  "why?"  as  in  150. — 

the   full    question    that   follows,  noram  :  sc.  eum.  —  scio  :  sc.  haec. 

precisely     as     quid    Glucerium?  936.    poste :     for     the     form, 

(806)    paves    the   way    for    the  see  on  509.  —  primum :    for  the 

following  iam  hie  suos  parentis  meaning,  see  on  156. 


1 70 


TERENTI    ANDRIA 


Quid  illo  sit  factum.     Pa.    [Aside.]     Vix  sum  apud  rn<; ; 

ita  animus  commotust  metu, 

Spe,  gaudio,  mirando  tanto  tarn  repentino  hoc  bono.        35 
Si.     Ne    istam    multimodis    tuam    inveniri    gaudeo.     Ore. 

Credo.     Pa.    Pater  .  .  . 
940  Cre.  At  mi  unus  scrupulus  etiam  restat,  qui  me  male  habet. 

Pa.    [Aside.]     Dignus  es 
Cum  tua  religione,  odium.     Nodum  in  scirpo  quaeris. 

Cri.   Quid  istud  est  ? 
Cre.  Nomen    non    convenit.     Cri.    Fuit    hercle    huic    aliud 

parvae.     Cre.   Quod,  Crito  ? 
Num  quid  meministi  ?     Cri.    Id  quaero.     Pa.    [Aside.]  40 

Egon  huius  memoriam  patiar  meae 
Voluptati  obstare,  quom  ego  possim  in  hac  re  medicari 

mihi  ? 


937.  illo  :   for  the  case,  see  on 
me  (614). — apud   me:   for   the 
meaning,    see   on    apud    te  sits 
(408). 

938.  mirando     bono     is     an 
ablative  of  means,  parallel  with 
metu,  spe,  and  gaudio.     Others 
prefer  to  call  it  an  ablative  of 
attendant  circumstances. 

939.  ne  :  for  the  meaning,  see 
on  324.  —  credo,"  I  believe  you," 
is  the  conventional  reply  to  an 
expression  of  congratulation.  — 
pater :     what    would    Pampilus 
have  said   if  he   had   not   been 
interrupted  ? 

940.  scrupulus :       since     the 
figure  is  unfamiliar  in  English, 
we  must  substitute  a  less  pic- 


turesque word  such  as  "  diffi- 
culty." -  etiam  is  temporal. 
—  male  habet:  for  the  meaning, 
see  on  436. 

941.  religione:  for  the  mean- 
ing, see  on  730.  —  odium  :  a 
term  of  abuse;  the  word  is 
etymologically  connected  with 
odor,  etc.,  and  in  this  use  the 
original  force,  "  stench,  stinker," 
still  shows  through.  Perhaps  it 
can  best  be  put  into  English  by 
an  interjection  such  as  "  ugh  ! 
faugh  ! "  -  nodum  in  scirpo 
quaeris :  the  proverb  is  used  of 
those  who  borrow  trouble. 

944.  voluptati:  for  the. short 
antepenult,  see  Introduction 
19. 


ACTUS  V,  SCENA  IV 


171 


945 


[Aloud.]     Heus,    Cremes,     quod     quaeris,     Pasibulast. 

Cre.    Pasibula  ?     Ipsast.     Cri.    East. 
Pa.    Ex  ipsa  audivi  miliens.     Si.    Omnis  nos  gaudere  hoc, 

Cremes, 
Te  credo  credere.     Cre.    Ita  me  di  ament,  credo.     Pa. 

Quod  restat,  pater,  .  .  . 
Si.     lam  dudum  res  redduxit  me  ipsa  in  gratiam.     Pa.   O4S 

lepidum  patrem  ! 
De  uxore,  ita  ut  possedi,  nihil  mutat  Cremes  ?     Cre. 

Causa  optumast ; 
Nisi  quid  pater  ait  aliud.     Pa.    [To  Simo.]     Nempe  id. 

Si.    Scilicet.     Cre.    Dos,  Pampile,  est 
Decem  talenta.     Pa.    Accipio.     Cre.    Propero  ad  filiam. 

Eho  mecum,  Crito; 
Nam  illam  me  credo  baud  nosse.     [Exeunt  Cremes  and 

Crito  into  Glucerium's  house.]     Si.    Cur  non  illam 

hue  transferri  iubes  ? 


946.  hoc  may  be  construed  as 
accusative  or  as  ablative. 

947.  The     second     credo     is 
used   as   in   939.  —  quod   is   an 
accusative  of  respect ;   see  on  id 
(162).     Pampilus  gets  but  little 
further  with  his  suggestion  than 
he  did  in  939. 

948.  res :     for   the    meaning, 
see     on    re     (359).  —  redduxit: 
perfect,  because  it  narrates  an 
act  that  lies  wholly  in  the  past. 
The   present  with    iam    dudum 
describes   a   state   beginning  in 
the    past    and    continuing    into 
the  present.  —  lepidum  is  a  col- 
loquial   adjective   that   has   the 


meaning  of  the  women's  slang 
word,  "  lovely." 

950.  nempe    id:      supply    a 
verb  from  the  last  speech. 

950  f.    As  to  the  importance 
of  the  dowry,  see  on  dote  (roi). 

951.  decem       talenta       was 
equivalent,  by  weight,  to  nearly 
$12,000,    while    its    purchasing 
power   was    much    greater.     In 
Menander's   Periceiromene   (In- 
troduction page  30)  the  dowry 
amounts  to  only  three  talents.  — 
accipio  is  the  regular  reply  to  a 
promise  of  dowry.     Such  stand- 
ing formulas  were  of  the  utmost 
importance  in  making  any  con- 


172  TEREXTI   AXDRIA 

Pa.    Recte   admones;     Davo  ego  istuc   dedam   iam   negoti.  50 

Si.    Non  potest. 
Pa.    Qui  ?     Si.    Quia   habet   aliud   magis  ex  sese  et   maius. 

Pa.    Quid  nam  ?     Si.    Vinctus  est. 
955  Pa.    Pater,    non    recte   vinctust.     Si.    Haud    ita   mssi.     Pa. 

lube  solui,  obsecro. 
Si.     Age  fiat.     Pa.    At  matura.     Si.    Eo  intro.     [Exit  into  his 

house.]     Pa.    O  faustum  et  felicem  diem  ! 

CARINUS  PAMPILUS 

ADULESCENS  ADULESCENS 

[Enter  Carinus,  unseen  by  Pampilus.] 
Ca.     Proviso  quid  agat    Pampilus.     Atque  eccum.     Pa.    Me 

aliquis  fors  putet 
Non  putare  hoc  verum,  at  mihi  nunc  sic  esse  hoc  verum 

lubet. 
Ego  deorum  vitam  eapropter  sempiternam  esse  arbitror, 

tract,  since  words  spoken  before  A        ,,     c 

ACT  V     SCENE  5 
witnesses    served    many    of  the 

legal  purposes  for  which  we  now  957.  proviso  :  for  the  mean- 
use  written  documents.  ing,  see  on  reviso  (404).  —  Pam- 
953-  Why  does  Pampilus  say  pilus  :  for  the  pyrrhic  before  the 
istuc  instead  of  illud  ?  —  potest :  diaeresis,  see  Introduction  22.  — 
impersonal,  as  in  327.  In  this  fors  —  forsitan. — putet:  for  the 
use  potest  contains  the  adjective  mood,  see  on  die  at  (640). 
potis,  pote,  in  the  sense  of  "  pos-  957  f-  ''Someone  may  sup- 
sible."  pose  that  I  don't  think  this  is 

954.  qui:"why?" — ex  sese  :  true,  but  I  am  glad  it  is  true." 
"  according  to  his  deserts."  There   is  no  logical   connection 

955.  Pampilus    intends    recte  between  the  two  halves  of  the 
to  equal  iuste;  but  Simo  chooses  sentence;  Pampilus  is  too  happy 
to    understand    it    in    its    literal  to   speak   sanely.     There   is   no 
sense,     "  perpendicularly  "     (cf.  logic  in  the  following  argument 
865). — With  ita  supply  an  in-  either. 

finitive  from  the  last  speech.  959.    eapropter  stands  to  the 


ACTUS  V,  SCENA  VI  173 

60          Quod  voluptates  eorum  propriae  sunt;    nam  mi  inmor- 

talitas 

Partast,  si  nulla  aegritudo  huic  gaudio  intercesserit.  -      s 
Sed  quern  ego  mihi  potissumum  optem,  quoi  nunc  haec 

narrem,  dari  ? 
Ca.    [Aside.}     Quid    illud   gaudist  ? 

[Davos  appears  at  the  door  of  Simo's  house,] 

Pa.    Davom  video.    Ne- 
most,  quern  mallem  omnium  ; 
Nam  hunc  scio  mea  solide  solum  gavisurum  gaudia. 

DAVOS  PAMPILUS  CARINUS 

SERVOS  ADULESCENS  ADULESCENS 

[Enter  Davos  from  Simo's  house.] 
65  Da.    Pampilus  ubi  nam  hie  est  ?     Pa.    O  Dave.     Da.   Quis 

homost  ?     Pa.    Ego  sum.     Da.    O  Pampile. 
Pa.    Nescis  quid  .mi  obtigerit.     Da.    Certe;     sed    quid    mi 

obtigerit  scio. 
Pa.    Et  quidem  ego.     Da.    More  hominum  evenit,  ut  quod 

sim  nanctus  mali 

Prius  rescisceres  tu,  quam  ego  illud  quod  tibi  evenit  boni. 
Pa.    Glucerium   mea   suos   parentis   repperit.     Da.    Factum  s 

bene.     Ca.    [Aside.]     Hem ! 

170  Pa.    Pater  amicus  summus  nobis.    Da.   Quis  ?    Pa.    Cremes. 
Da.    Narras  probe. 

equivalent  propterea   as  quicum      this    phrase,    compare    solidum 
does  to  cum  qui.     Cf.  quapropter      gaudium  (647). 

(163).  *       v     C            /; 

960.    propriae  :    for  the  mean- 
ing, see  on  716.  967.    quidem     =     quoque.  — 

963.  gaudi :    for  the  case,  see  quod    .  .  .   mali   is   an   indirect 
on    id   negoti    (521).  —  mallem:  question,  while  quod  .  .  .  boni  in 
"  should  have  preferred."  the  next  line  is  a  relative  clause. 

964.  solide  gavisurum :    with  970.    pater:   sc.  Gluceri. 


174  TERENTI   ANDRIA 

Pa.    Nee  mora  ullast,  quin   earn    uxorem   ducam.     [Aside.] 

Ca.    Num  ille  somniat 
Eaquae  vigilans  voluit  ?    Pa.    Turn  de  puero,  Dave  .  .  . 

Da.   Ah,  desine  ! 
Solus  est  quem  diligant  di.     Ca.    [Aside.]     Saluos  sum, 

si  haec  vera  sunt. 
Conloquar.     [Advances.]     Pa.   Quis    homost  ?     Carine,  10 

in  tempore  ipso  mi  advenis. 
975  Ca.    Bene  factum.    Pa.   Audisti  ?    Ca.   Omnia.    Age,  me  in 

tuis  secundis  respice. 
Tuos  est  nunc  Cremes;    facturum  quae  voles  scio  esse 

omnia. 
Pa.    Memini;   atque  adeo  longumst  ilium  me  expectare  dum 

exeat. 
Sequere  hac  me;  intus  apud  Glucerium  nunc  est.     Tu, 

Dave,  abi  domum, 
Propera,   accerse  hinc  qui  auferant  earn.     Quid  stas  ?  15 

Quid  cessas  ?     Da.    Eo. 
[Exeunt   Pampilus    and   Carinus    into   Glucerium 's   house. 

Davos  addresses  the  audience.] 

980          Ne  expectetis  dum  exeant  hue.     Intus  despondebitur; 
Intus  transigetur,  si  quid  est  quod  restet.     [Exit  Davos 
into  Simo's  house.]     Cantor.     [Addressing  the  audi- 
ence.]    Plaudite  ! 

973.  solus  est,  etc.,  sums  up      according  to  the  rule  given  in  the 
all  that  a  proud  young  father      note  on  benefici  (44). 

can  say,   and  so  forestalls   the          980  f.    No  other  play  of  Ter- 
details.  ence    has    such    a    closing    ad- 

974.  mi  is  dative  of  reference.      dress  to  the  audience  as  ne  .  .  . 

977.  memini :    "  I'm  not  for-  restet,  but  the  device  is  common 
getting  that."  in  Plautus.     The  request  for  ap- 

978.  Glucerium  :    everywhere  plause  occurs  at  the  end  of  every 
else  in  the  play  the  name  has  the  Latin  comedy  whose  final  scene 
accent    on    the    first    syllable,  has  been  preserved. 


APPENDIX 

33.  Mss.  and  Edd. :  eis.  Here  and  in  line  63  the  verse  requires 
monosyllabic  is  or  pyrrhic  eis.  I  have  preferred  the  former.  Ter- 
ence must  have  spelled  the  monosyllable  eis  (es  was  less  usual),  and 
the  copyists  who  modernized  the  other  instances  of  ei  into  i  would 
almost  certainly  misinterpret  eis  as  a  dissyllable  and  therefore  retain 
it. 

58.  So  Mss.  Fleckeisen  and  Fairclough  transpose  (ille  horum 
nihil  ille)  out  of  deference  to  Schmidt's  demonstration  (Hermes 
8.  478  ff.)  that  Terence  ordinarily  uses  before  vowels  the  plural 
forms  of  hie  with  appended  c(e).  This  consideration,  however,  is 
more  than  overbalanced  by  the  fact  that  the  sentence  accent  is 
seriously  impaired  by  the  transposition;  nil,  not  horum,  is  the 
emphatic  word. 

70.  It  is  probable  that  hue  is  from  earlier  *hoi-c(,  formed  in  the 
same  way  as  Greek  Trot.  If  so,  it  must  have  existed  alongside  of  the 
equivalent  hoc,  and  editors  of  early  Latin  authors  need  not  prefer 
the  latter  against  the  Mss. 

87.  Mss. :  turn  simul,  a  reading  which  is  possible  if  we  assume  a 
false  quantity  by  scanning  Niceratum.  See  Spengel's  critical  note. 

103.  The  spelling  cur  of  the  Mss.  of  Terence  is  followed  in  this 
edition.  There  is  little  doubt  that  the  orthographies  quor,  qur,  and 
cur  were  current  in  the  early  period  (see  the  statement  of  the  evi- 
dence in  the  Thesaurus],  and  it  seems  probable  that  the  pronuncia- 
tions quor  and  cur  were  both  heard  (for  cur,  cf.  Anderson,  CP. 
4.  297),  just  as  hoc  and  hue  were  used  side  by  side.  Each  passage, 
then,  should  be  considered  independently  on  the  basis  of  the  manu- 
script authority. 

Editors  who  admit  cur  to  the  text  of  Plautus  and  Terence  usually 
admit  also  cum  (conjunction),  cuius,  etc.  The  evidence  for  these 


176  APPENDIX 

forms,  however,  is  less  strong  than  that  for  cur,  and  in  this  edition 
quom,  quoius,  etc.,  are  everywhere  adopted. 

There  is  equally  good  authority  for  reading  with  Spengcl  and 
Fairclough  :  Quid  obstat  cur  non  verae  Jiant?  The  context,  however, 
differs  from  that  of  line  47,  where  verae  is  appropriate;  with  this 
passage  we  should  rather  compare  542  f . :  ut  .  .  .  ila,  uti  nuptiae 
fuerant  futurae,  fiant.  Compare  Ashmore,  Appendix  ad  loc. 

171.  That  Simo  enters  his  house  at  this  point,  thus  leaving  the 
stage  vacant,  is  indicated  by  the  following  considerations  :  (i)  Simo 
would  hardly  say  modo  (line  173)  of  a  conversation  held  not  merely 
before  the  opening  of  the  play  but  before  he  had  started  to  market 
to  purchase  the  day's  provisions.  (2)  Davos'  monologue  in  lines 
175  ff.  seems  to  imply  that  he  has  just  now  learned  of  Simo's  pro- 
fessed intention.  His  "I  told  you  so"  (mirabar,  verebar}  hardly 
applies  to  news  already  an  hour  or  so  old.  (3)  Since  in  226  f.  Davos 
is  anxious  to  warn  Pampilus  before  his  father  sees  him,  it  is  not 
likely  that  he  has  already  allowed  a  considerable  time  to  pass  before 
starting  on  the  errand.  (4)  Besides,  he  himself  tells  us  that  he 
started  to  find  Pampilus  as  soon  as  he  learned  of  the  approaching 
marriage  (continue,  line  355).  (5)  The  strongest  argument  of  all  is 
that  if  Simo  does  not  enter  his  house  at  this  point,  we  must  assume 
that  he  starts  back  to  the  market  at  line  205  without  having  gone 
indoors  at  all ;  for  at  his  next  appearance  (404)  he  is  returning  from 
the  market.  So  Watson,  PAPA.  42.  Ixxi.  Leo,  Der  Monolog  im 
Drama  57,  assumes  that  Simo  enters  his  house  here,  but  does  not 
cite  the  evidence. 

208.  The  sentence  accent  demands  that  we  read  me  aut  rather 
than  me  aut  with  elision.  Compare  lines  333,  349,  742. 

226.  On  such  final  monosyllables  as  ut,  see  Vahlen,  Uber  die  Vers- 
schlusse  in  den  Komodien  des  Terentius,  and  Scholl,  Rh.  M.  57.  52  fF. 

227.  Leo,  Der  Monolog  im  Drama  57,  suggests  that  this  may  be 
the  end  of  an  act.      But  it  is  at  any  rate  clear  that  there  is  no  oppor- 
tunity for  a  musical  interlude;   Musis  must  be  seen  by  the  audience 
as  soon  as  by  Davos,  since  she  comes  from  one  of  the  houses  repre- 
sented on  the  stage. 

236.  The  Ms.  tradition  and  the  etymology  both  favor  the  spell- 
ing hoccinest. 


APPENDIX  177 

258.  The  Mss.  fiave  nunc  after  quis.  This  emendation  of 
Dziatzko's,  accepted  by  Klotz,  Altromische  Metrik  211,  is  re- 
jected by  Fairclough  because  he  considers  iambic  ego  impossible. 
That  form,  however,  occurs  in  702,  864,  and  967.  In  line  850  the 
text  is  uncertain.  For  parallels  in  Plautus,  see  Klotz,  Altromische 
Metrik  52,  and  Lindsay,  The  Captivi  of  Plautus  page  17. 

277.  Bentley  read  ut  vim  so  as  to  get  an  accent  on  vim.  The  same 
end  may  be  attained  by  scanning  vim  ut. 

300.  Some  students  think  that  Pampilus  remains  on  the  stage, 
and  those  who  have  felt  that  the  stage  should  be  vacant  have  made 
him  accompany  Musis  or  enter  his  father's  house.  We  must  sup- 
pose, however,  that  he  is  anxious  to  see  and  reassure  Glucerium 
after  what  Musis  has  told  him ;  and  no  conflicting  motive  has  been 
provided  by  the  poet.  Compare  below  on  line  624. 

337.  Most  editors  adopt  Bentley's  emendation.  He  says: 
Certe  alterutrum  legendum  est,  aut  opus  est  scire  aut  opus  sunt 
'sciri.  Posterius  placet.  I  do  not  know  of  another  example  of  an 
infinitive  after  opus  sunt;  but  there  seems  to  be  no  reason  for  pre- 
ferring a  passive  infinitive  'to  an  active. 

372.  With  Klotz  I  retain  necesse,  the  reading  of  the  Mss.  and 
Donatus.  Most  editors  print  necessus,  because  Lachmann,  on 
Lucr.  6.  815,  argued  on  the  basis  of  two  passages  (Heaut.  360,  and 
Eun.  998)  that  Terence  always  used  that  form  before  a  consonant. 

378.  So  Spengel,  Fleckeisen,  Tyrrell.  I  am  unable  to  under- 
stand Fairclough's  objection  to  altering  habeat  of  the  Mss. ;  it 
represents  a  particularly  easy  corruption  in  view  of  the  difference 
between  early  and  later  Latin  syntax. 

412.  That  Burria  enters  from  the  right,  not  from  a  house  repre- 
sented in  the  scene,  appears  from  line  414,  hunc  venientem  sequor. 
There  seems  to  be  no  good  reason  for  thinking  that  Carinus'  house  is 
represented  in  the  scene. 

447.  It  seems  necessary  to  adopt  with  Fleckeisen  Bentley's 
conjecture  of  the  Plautine  form  aliquantillum  in  order  to  account  for 
aliquantulum,  the  metrically  impossible  reading  of  D  and  E.  Most 
editors  read  aliquantum  with  the  other  Mss. 

449.  Davos'  puerilest  furnishes  a  satisfactory  antecedent  for 
id  (otherwise  Schlee,  ALL.  3.  556). 

TER.    ANDRIA  —  12 


1 78  APPENDIX 

483.  BC2  DEG:  fac  istaec  ut  lavet ;  OP,  Donat.,  Edd. :  ista; 
Schol.  Bemb.  Ad.  3.  4.  36,  Fleckeisen,  Fairclough  :  is/am.  The 
active  lavet  seems  absurd,  since  Glucerium  was  in  no  condition  to 
help  herself.  Menander,  at  any  rate,  did  not  make  her  attend  to  her 
own  needs ;  for  his  text,  as  recorded  by  Donatus,  was  Aowar' 
avrrjv  avriKu..  The  passive  lavetur,  which  originally  stood  here, 
was,  we  may  suppose,  understood  by  some  scribe  as  a  middle  form; 
hence  he  carelessly  substituted  lavet.  It  is  probable  that  istaec  is 
the  correct  form  of  the  pronoun ;  for  the  copyists  would  be  more 
likely  to  change  this  to  ista  than  vice  versa.  The  retention  of  is- 
taec compels  us  to  omit  ut.  The  reading  lavetur  makes  unnecessary 
Fleckeisen's  alteration  of  post  to  paste.  (Engelbrecht,  Wien. 
Stud.  5.  218,  avoided  paste  by  employing  lavetur  as  a  middle  form.) 
If  the  molossus  in  the  fourth  foot  of  a  bacchiac  tetrameter  is  held  to 
be  impossible  (see  Lindsay,  The  Captivi  of  Plautus  page  83),  one 
may  read  :  fac  istam  ut  lavent ;  paste  deinde. 

512.  With  much  hesitation  I  have  adopted  Fleckeisen's  faciam 
instead  of  the  j 'ado  of  the  Mss.  Possibly  a  misunderstanding  of  the 
archaic  qui  induced  some  copyist  to  change  the  mood  of  the  verb. 
The  alternative  is  to  read  quls. 

527.  The  Mss.  are  divided  between  ipse  and  ipsus.  The  form 
which  was  less  familiar  to  the  copyists  is  likely  to  have  been  the 
original.  The  fact  that  Terence  sometimes  chose  ipsus  for  metrical 
reasons  is  not  evidence  that  he  avoided  it  wherever  ipse  would  serve 
as  well. 

596.  So  Mss.  The  proceleusmatic,  corrigere  mlhi,  seems  to  be 
without  an  exact  parallel,  but  nevertheless  Klotz,  Altromische 
Metrik  268,  is  inclined  to  prefer  this  to  the  transposition  which 
Fleckeisen  proposed  in  his  first  edition.  Spengel's  corrigi  is  scarcely 
Latin ;  the  infinitive  with  subject  accusative  after  enitor  ought  to  be 
in  indirect  discourse  as  it  is  after  nitor  in  Cic.,  Ac.  2.  21.  68  :  Nitamur 
igitur  nihil  posse  percipi. 

599.  So  Bentley;  Mss.:  quae  tibi.  An  accent  on  tibi  is  almost 
inevitable  in  view  of  the  contrast  with  illi.  Terence  was  fond  of 
putting  a  connective  immediately  before  its  verb ;  but  later  usage 
favored  the  transposition  which  appears  in  our  manuscripts.  Com- 
pare my  note  on  ut  (160). 


APPENDIX  179 

614.  So  D,  and  the  reading  is  supported  by  the  fact  that  the  con- 
text calls  for  an  accent  on  me.  P  shows  a  repetition  of  the  phrase, 
nee  quid  me,  with  which  the  verse  begins,  and  nee  quidem  me  of  the 
other  manuscripts  is  an  attempted  correction  of  that. 

624.  With  some  hesitation  I  follow  Legrand's  tentative  sugges- 
tion, Daos  486,  in  making  this  the  end  of  an  act,  because  I  cannot 
accept  the  alternative  theory  that  lines  301-819,  more  than  half 
the  entire  play,  were  unbroken  by  a  musical  interlude.  The  poet 
has  indeed  provided  a  satisfactory  motive  for  getting  Pampilus 
and  Davos  off  the  stage :  they  have  a  difficult  task  before  them, 
and  the  time  for  accomplishing  it  is  short.  On  the  other  hand,  it  is 
surprising  to  find  the  same  two  characters  upon  the  stage  again 
eighteen  lines  below.  The  alternative  supposition,  however,  that 
Pampilus  listened  quietly  to  eighteen  lines  of  undeserved  insult 
before  making  his  confession,  is  not  satisfactory.  Leo,  Der  Mono- 
log  im  Drama  57,  points  out  that  both  this  break  and  the  one  after 
line  300  are  followed  by  the  appearance  of  Carinus,  one  of  the 
characters  said  to  have  been  added  to  the  play  by  Terence ;  per- 
haps the  division  into  acts  was  clearer  in  Menander. 

629.  So  Mss.  and  Reinhold  Klotz.  I  cannot  cite  a  parallel  for 
the  third  foot  (u  u  o  u  _),  but  hesitate  to  make  any  of  the  violent 
changes  usually  adopted.  Richard  Klotz,  Altromische  Metrik 
298,  suggests  hominum  genus  pessumum. 

631.  The  Mss.  except  C  and  P  read  tempust,  but  Donatus  com- 
ments on  the  absence  of  est. 

713.  All  the  best  Mss.  assign  the  second  si  quid  to  Carinus;  but 
such  a  repetition  seems  inconsistent  with  his  sanguine  temperament. 
Hence  I  adopt  Spengel's  conjecture. 

751.  The  editors  suppose  that  Musis'  exclamation  is  due  to 
Davos'  rough  attempts  to  force  her  to  the  right  and  away  from 
Cremes.  But  any  such  stage  business  would  be  without  motive 
from  Cremes'  point  of  view  and  therefore  impossible.  Davos  has 
to  rely  upon  whispers  to  get  Musis  away  from  Cremes. 

754.  It  is  easier  to  suppose  that  Musis  used  male  dicis  inexactly 
for  comminaris  than  to  make  Davos  postpone  an  indignant  question 
for  a  line  and  a  half. 

756.    It  is  necessary  to  delete  either  meretrix  or  ancilla  (after 


i8o  APPENDIX 

Andriast  in  the  Mss.)-  Meretrix  is  needed  to  give  Cremes  a  clue  to 
Musis'  identity.  The  undeserved  insult  in  it  would  hardly  fail  to 
draw  a  retort  from  Musis,  and  so  I  assign  757  f.  to  her  instead  of  to 
Davos  as  the  Mss.  do.  Compare  note  ad  loc. 

772.  Mss.  :  cuius.  This  is  said  to  be  the  only  case  in  Terence  of 
the  dissyllabic  genitive  of  qui.  There  is  no  doubt,  however,  that 
the  form  was  in  common  use;  and  so  it  is  quite  unnecessary  to  read 
quoia  here. 

787.  So  Mss.  (credes,  DP).  Fleckeisen's  attempt  to  dismiss 
non  credos  as  a  "solecism"  (Neue  Jahrb.  139.  844)  is  scarcely  suc- 
cessful. He  does  not  explain  how  non  got  into  our  Mss.  For 
approximate  parallels,  see  Bennett,  Syntax  of  Early  Latin  i.  170. 

807.  D:  hucine  appuli ;  cett :  hue  me  appuli;  Priscian  and  one 
of  Bentley's  manuscripts:  hue  me  attuli.  It  seems  impossible  to 
explain  the  presence  of  appuli  in  our  manuscripts  if  attuli  was  the 
original  form  ;  and  yet  me  appuli  is  without  parallel  (see  Fairclough). 
I  think  that  hue  me  is  a  corruption  of  the  emphatic  hucine  of  D, 
which  is  itself  an  early  modification  of  hue. 

816.  8:    libel;    y:    licet.     Crito  is  making  a  virtue  of  necessity, 
and  licet  wo'uld  destroy  the  point.     Compare  my  note. 

817.  On  the  assignment  of  parts,  see  Spengel's  critical  note,  and 
compare  my  note. 

838.  In  the  Mss.  at  stands  at  the  beginning  of  the  following  line. 
See  Vahlen,  Uber  die  Fersschliisse  in  den  Komodien  des  Terentius. 

850.  The  reading  in  the  text  is  Dziatzko's.  I  cannot  agree  with 
Spengel  and  Fairclough  when  they  hold  that  modo  must  be  an  em- 
phatic word  here.  Davos  is  speaking  against  his  will  and  does  not 
care  to  emphasize  anything.  Simo  seizes  upon  the  modo  in  his 
reply,  not  because  it  is  emphatic,  but  because  it  is  the  only  new 
element  in  Davos'  statement.  For  iambic  ego,  see  Appendix  on  258. 

854.  So  BDP;  Edd.  :  audies.  The  subjunctive  certainly  occurs 
after  faxo;  e.g.,  Phor.  1028.  See  Bennett,  Syntax  o]  Early  Latin  I. 
225  f. 

864.    For  ego,  see  Appendix  on  258. 

909.  So  BDEGP'C2,  Fleckeisen ;  PCO.Edd.:  qua  re.  The  fuller 
reading  gives  a  better  sense,  and  the  corruption  to  qua  re  is  very  easy. 

926.    See  Klotz,  ad  loc. 


APPENDIX  181 

971.  I  prefer  earn  (A,  etc.)  to  iam  (BCP).  Pampilus  has  been 
more  worried  about  the  identity  of  the  bride  than  about  the  date 
of  the  wedding. 

978.  So  Umpfenbach,  Klotz,  Meissner,  Fleckeisen,  following  the 
Mss.  as  closely  as  possible.  There  are  so  many  parallels  in  Terence 
to  the  accent  Gluctrium  that  we  need  be  at  no  pains  to  avoid  it  here. 


PARTIAL  INDEX  TO  THE   NOTES 

Bold-faced  figures  refer  to  pages,  others  to  lines  of  the  Andria. 


a  parvolo,  a  parvis,  35,  539 

ablative,  of  manner  without  modi- 
fiers, 60;  of  means  with  appetlo, 
etc.,  29 

abstracts  in  -io,  44,  202,  568 

abutor,  meaning  and  construction,  5 

ac  =  atqui,  370 

accent,  of  contracted  genitive  in  -i, 
44;  of  phrase,  317;  of  quadri- 
syllables, 44,  203,  777,  978  ;  of  un- 
emphatic  pronouns,  36,  220,  852 

accerso,  form,  515;    meaning,  546 

accusative  of  respect,  162,  258,  289 

active  participle  in  -tus,  486 

acts,  division  of  Roman  comedies 
into,  67 

actumst,  465 

ad  Martis,  48 

Adelphoe,  44 

adeo,  etymology,  120 

adjective  pronouns,  agreement,  45 

adsoleo,  meaning,  481 

adverbs  in  -ter  from  adjectives  in  -us, 

74 

aetate  integra,  72 
Afranius,  48 
ago,  "attend  to,"  186 
Albanum,  meaning,  42 
alliteration,  692 
an  in  question  of  surprise,  784 
Andria,  first  and  second  productions, 

46,63;  first  production  postponed, 

43 

animum  advorto,  156 
animus,  meaning,  47,  164;   often  not 

to  be  translated,  641 


antecedent  incorporated  into  rela- 
tive clause,  3 

antehac,  pronunciation,  187 

antithesis  between  words  and  deeds, 
824 

-anum,  meaning,  42 

appello,  meaning,  807 

appositive  of  locative,  42 

-arius,  adjectives  in,  782 

aspirates,  Greek,  in  Latin,  51 

assimilation  in  verbal  prefixes,  725 

Athenian  law,  115,  145  f.,  219,  221, 
799,  810 

atque  =  atqui,  22$ 

atqui,  etymology,  53 

audeo,  etymology,  85 

audience  represented  by  actor,  106 

autem,  meaning,  43 

b  for  Greek  JT,  301 

bona    verba    in    language    of    ritual, 

204 

Caecilius  Statius,  43 
carnufex  in  thieves'  slang,  183 
causal  ^Mi-clause,  construction,  272  f. 
-ce,    28,    150,    1 86,   458,    478,    683, 

689 

cedo,  etymology  and  meaning,  150 
cesso,  meaning,  343 
chorus  in  New  Comedy,  67,  85 
Cicero's  Limo,  49 
dam,  construction,  287 
cognosce,  meaning,  24 
commereo,  meaning,  139 
compounds  in  early  Latin,  294 


183 


1 84 


INDEX 


conditions    contrary    to    fact     with 

present  subjunctive,  310 
confore,  impersonal,  167 
conlacrumo,  meaning,  109 
conlecta,  sumbola,  88 
contamination,  grammatical,  45,  624, 

627 

contamino,  meaning,  16 
contracts  by  word  of  mouth,  951 
Cornelius  Nepos,  41 
Cosconius,  48 

credo,  response  to  congratulations,  939 
Cremes,  declension,  247 
curule  aediles,  purchase  of  plays,  42 

damnum,  meaning,  143 

dead  spoken  of  as  living,  107 

dehinc,  pronunciation,  79 

deindf,  dein,  pronunciation,  79 

dextera,  form,  734 

dictum  ac  factum,  381 

dictust,  102 

diligentia,  meaning,  21 

diminutive,      expressing      contempt, 

231;  faded,  55  ;  suffix  -culus,  131 
direct  quotation  without  introducing 

verb,  151  ff. 
discipuli,  "  actors,"  477 
dolor,  meaning,  268 
double  negative  for  emphasis,  205 
dowry,  101,  951 
duco,  meaning  in  slang,  180 
duim,  666 
dutn  with  imperative,  29 

-f  in  dative  of  fifth  declension,  296 

ea  gratia,  433 

eapropter,  959 

eccf,  use,  532 

eccum,  etymology,  532 

edepol,  etymology,  305 

-ei  in  genitive  of  fifth  declension,  25, 

296 

ei(u)s,  93 
ellum,  etymology  and  meaning,  855 


em,  etymology  and  meaning,  351 
enclitics,  pronouns  as,  36,  220,  852 
end  of  motion  without  a  preposition, 

70 

enico,  etymology  and  meaning,  660 
enim,  without  causal  force,  91 
Enmus,  18 
epenthesis,  451 
equidem  =  quidem,  327 
ctilis  filius,  602 

es,  fst  after  vowels  and  -m,  44 
ft  ipsf,  41 
ftiam,      temporal      but      translated 

"even,"  282 
Eunuchus,  43 
excitement  reflected  in  shifting  meter, 

175  ff. 

expedio,  617 
exposure  of  young  children,  219 

Fabius  Labeo,  47 

fabula,  meaning,  43 

facio  aliquid,  construction,  143,  614 

faded  diminutive,  55 

favcte  (linguis),  24 

Fenestella,  40 

fieri,  quantity  of  antepenult,  792 

fifth  declension,  dative  singular,  296; 
genitive  singular,  25,  296,  457 

final  s  in  early  Latin,  582 

flute  player,  67,  85 

for  as,  for  is,  580 

forum,  meaning  in  Terence,  226 

fourth  conjugation,  imperfect  indica- 
tive, 38 

fourth  declension,  genitive  singular, 

365 

frequentatives,  75 
funeral,  Athenian,  time  of,  115 
furcifer,  618 
Furius  Philus,  42 
future  from  past  point  of  view,  175, 

584  § 

future  indicative  in  -so,  753 
future  perfect  for  future,  213,  570 


INDEX 


185 


genius,  289 

gerund   and   gerundive,   genitive  of, 

denoting  cause,  47 
gnatus,  form,  49 
Greek  aspirates  in  Latin,  51 
Greek   customs,    88,    101,    102,    115, 

145  f.,  199,  219,  364,  369,  386,  469, 

581,  726,  745 
Greek   loan-words,   51,   57,   88,   316, 

360,451,  796,  815 
Greek  IT  becomes  Latin  b,  301 
Greek  words  as  slang,  345 
Greek  T  and  Z  in  Latin,  88 

habeo  gratiam,  42 

habet  in  slang  of  arena,  83 

haplology,  102,  151 

hand  scio  an,  meaning,  525 

Hecyra,  43,  47 

heroine  praised  by  old  man,  119 

hicine,  478 

hinc,  "of  this  city,"  221 

hoc  =  hue,  386 

hoc(ce),  etymology,  186 

hoccine,  186 

hodie  as  intensive,  196 

hui(u)s,  93 

i,  ii,  variation  between,  126 

iambic   law   and   -to   verbs   of  third 

conjugation,  322 
-ibam  for  -iebam,  38 
illi,  adverb,  638 
illic  =  illf,  458 
illi(u)s,  93 
illo,  illoc,  illuc,  362 
immo,  meaning,  201 
immo  etiam,  655 
impedio,  617 
imperfect     of    act     not    completed, 

545 

impero,  construction,  842 

impersonal  participle  in  ablative  abso- 
lute, 533 

indirect  command,  30 


indirect   discourse,   subject   of  main 

clause  omitted,  29 

indirect  question  with  indicative,  45 
infinitive  of  purpose,  484 
ingenium,  meaning,  93 
inludo,  construction,  758 
insolens,  etymology  and  meaning,  907 
instrumental  suffix  -c(u)lum,  131 
interjections,  translation  of,  184 
interrupted  sentence  untranslatable, 

149,  300 
intrigue    of   Athenian    with    foreign 

woman,  145  f. 

introductory  quid,  case  with,  932 
invenustus,  meaning,  245 
ipse,  ipsa  in  slaves'  slang,  265 
ipsus,  form,  360 
is,  dative  of,  443 
istaec,  form,  28 
it  a  introducing  a  reason,  173 

kalendae  Martiae,  46 

lacrumae,  form,  126 

Laelius,  41,  46 

Laelius   and   Scipio  and  the  Teren- 

tian  plays,  44,  45,  46,  47 
lepidus,  meaning,  948 
liberalis..  meaning,  123 
Lima  of  Cicero,  49 
loss,  of  final  s,  582;    of  final  short 

vowels,  20 1 ;    of  s  before  n,  256 ; 

off  between  like  vowels,  797 
love  of  boys,  41 
ludi  Megalenses,  46 
ludn,  meaning  of,  46 
Luscius  Lanuvinus,  7 

magis  verum,  698 
magister  =  paedagogus,  54 
maledictum,  form,  7 
malefactum,  form,  23 
malivolus,  malevolus,  form,  6 
malo  =  magis  volo,  332 
malum  in  slaves'  slang,  179 


i86 


INDEX 


marriage  of  Athenian  with  foreigner, 

145* 

masks  on  Roman  stage,  45 

Matronalia,  46 

media  mulier,  133 

Memmius,  45 

Menander,  his  character  drawing,  49 

mention   of  calamity   an   ill    omen, 

204 

-met  without  emphasis,  82 
mill,  means  of  punishment,  199 
fj.tfj.vffis,  1151  ff. 
minus  =  non,  197 
motoriae,  statariae,  49 
musical   interlude  on   Roman  stage, 

67,  85 

Naevius,  18 

name  of  a  freedman,  40 

narro  =  dico,  367,  434 

-ne  for  nonne,  17 

ne  =  non,  45,  330 

ne,  "really,"  324 

ne  utiquam  with  elision,  330 

nee,  for  atqui  ne,  392 ;   for  non,  180 

nedegentia,  meaning,  20 

nescio  nisi,  664 

neuter  referring  to  persons,  120,  697 

ni  =  non,  315 

nisi  si,  249 

non  possum  non,  563  f. 

nulli,  genitive  singular,  608 

nullus  as  an  emphatic  non,  370 

numquam  as  an  emphatic  non,  178 

nunc  quom  maxume,  823 

nunciam,  etymology,  171 

nuncin,  683 

5  for  u  in  early  Latin,  35,  63 

oaths  put  in  subordinate  clauses,  790 

obsonium,  meaning,  360 

odium,  etymology  and  meaning,  941 

Oedipus,  194 

olim,  of  a  definite  time,  545 

opening  door,  sound  of,  682 


oportent.  481 

opus  est,  construction,  490 

oratio,  oro,  etymology  and  meaning, 

141 
order  of  words  in  oath  with  per,  289 

participle,  active,  in  -tus,  486;  carry- 
ing main  idea  of  phrase,  40;  im- 
personal, 533 ;  in  indirect  dis- 
course, 29 

passive  infinitive  in  -ier,  203 

per,  intensive,  265 

percutio,  meaning,  125 

perfect  in  -si,  short  forms  of,  151 

perfect  infinitive  as  complement  of  a 
perfect,  239 

perfect  subjunctive  in  command,  892 

periclum,  etymology  and  form,   131, 

565 

perii  in  slang,  213 
perimus,  perfect,  591 
perinde,     standard     of     comparison 

omitted,  47 
persolui,  form,  39 
personal  pronouns  as  enclitics,  36 
phrase,  accent  of,  317;   used  as  verb, 

156.  157 

plerique  omnes,  55    . 
pluperfect  as  simple  past  tense,  183 
pono,  perfect  of,  789 
Popillius  Laenas,  47 
popular  ethics,  61,  67,   145  f.,  445, 

817 

Porcius  Licinus,  41 
possessive  adjectives,  602 
possessive  pronoun  as  antecedent  of 

relative,  98 
paste,  509 

postfero,  meaning,  42 
potential  subjunctive,  95,  135 
potest  =  potest  fieri,  327,  953 
potis,  pote,  437,  953 
present  for  future,  186 
present    indicative    for    deliberative 

subjunctive,  315 


INDEX 


187 


present  infinitive  for  future,  379 

present  subjunctive,  formed  with 
-sim,  753  ;  in  command,  598 ;  in 
condition  contrary  to  fact,  310 

pro,  interjection,  237 

procedit,  impersonal,  670  f. 

prohibition,  forms  of,  205,  384,  385, 
392,  704,  787 

proinde,  proin,  pronunciation,  79 

proleptic  accusative,  169 

prologus,  quantity  of  antepenult,  5 

pronominal  declension,  genitive  sin- 
gular, 93,  336,  608,  628 

pronouns,  agreement  of  adjective,  45; 
as  enclitics,  36,  220,  852;  declen- 
sion, 28,  93,  336,  360,  443,  630, 

763 

pudor,  meaning,  262,  279 
puer  =  servus,  84 
purchase  of  plays,  43 
Puteolanum,  meaning,  46 

quadrisyllable,  accent  of,  44,  203,  777, 
978 

quaestus,  meaning,  79 

quantum  potest,  86 1 

qui,  ablative  singular,  53,  148,  307 

qui  =  qualis,  47,  586 

quibus,  "after,"  104 

quid  ais,  meaning,  137 

quid  f  ado,  construction,  143,  614 

quid  istic,  572 

quin,  etymology  and  use,  45,  53 

quis,  dative-ablative  plural,  630 

^Mo-clause  of  purpose,  197,  472 

-quo-  for  -cu-,  63 

quod  si,  258 

quoi(u)s,  93,  336 

quoius,  a,  um,  763 

^Mom-clause,  of  fact,  45;  with  in- 
dicative in  all  senses,  242 

quoque  with  a  sentence,  455 

relicuom,  form,  25 
repetition,  generalizing,  684 


s,  st,  44 

saltern,  meaning,  257 

Santra,  46 

scelus,  "scoundrel,"  317,  607 

scenes  of  a  Roman  comedy,  67 

Scipio  Africanus  Minor,  41 

Scipio  and  Laelius  and  the  Terentian 
plays,  44,  45,  46,  47 

scitus,  etymology  and  meaning, 
486 

sedatis  motibus,  49 

sepulcrum,  meaning,  128 

short  forms  of  j-perfect,  151 

si  quidem,  etc.,  465 

sic,  sicine,  etymology,  689 

siem,  etc.,  234 

sine  omni,  391 

slang,  83,  86,  179,  180,  183,  211,  213, 
265',  345,  498 

sodes,  85 

JO/DO,  "  pay,"  643 

Sosia,  form,  28 

spondees,  five  in  one  line,  178 

statariae,  motoriae,  49 

subject  of  main  clause  in  indirect  dis- 
course omitted,  29 

subjunctive,  of  indefinite  second  per- 
son, 53,  66;  of  obligation,.  315, 

499 
subordinating     conjunction      placed 

next  the  verb,  160 
succedit,  impersonal,  46,  670  f. 
suffixes :    -anum,    42 ;     -arius,    782 ; 

-c(u)lum,    131;    -culus,   131;    -ier, 

203  ;   -sim,  -so,  753  ;   -tio,  44,  202; 

-tus,  486;   -und-,  -end-,  233 
Sulpicius  Gallus,  46 
sumbola,  conlecta,  88 
supine  with  eo,  134 

teneo  in  slang,  86,  498 

Terence,  and  the  Scipionic  Circle,  41 ; 
date  of  birth,  47;  date  of  death, 
48 ;  his  collaborators,  41,  44,  45,  46, 
47;  less  action  in  his  plays  than  in 


i88 


INDEX 


Menander's,  49;  name,  40;  nation- 
ality, 40,  48 

ietuli,  808 

third  conjugation,  -io  verbs  of,  with 
long  i,  322 

timeo,  construction,  210 

titulus,  meaning,  44 

tollo,  "acknowledge,"  219 

turning  the  mill  as  punishment,  199 

M,  i,  variation  between,  126 

ubi  ubi,  684 

-und-,  -end-  in  gerund  and  gerundive, 

233 

-MO-  for  -MM-,  35,  63 
ut  introducing  wish,  409,  712 
ut  nequid  nimis,  61 
ut  sis  sciens,  508 


vale  ant,  696 

Varro,  44 

vel  introducing  climax,  489 

vellem,  tense,  326 

verba  dare,  meaning,  z\  i 

verbals  in  -tin,  construction,  44,  202 

virtual  indirect  discourse,  175 

vis  comica,  meaning,  49 

-vo-  for  -vu-,  35 

Volcatius  Sedigitus,  43,  49 

weakening  of  e  to  i,  186 
women's  names  in  -iov,  134 
words  and  deeds,  antithesis  between, 
824 

T  and  Z  in  Latin,  88 
young  men  in  love,  259 


18185 


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